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DICK & FITZGERALD, Publishers, i8 Ann St., N. Y. f 



The Steel King 

AN ORIGINAL FOUR-ACT 
COMEDY DRAMA 

By Horace C. Dale 



Author of '■'■ Siyi/e,"'' '■^ Imogene,''' " The Deacon^'''' '■''Breaking- His 

Bonds,'^ '''' Josiah''s Couriship,^^ ■'''' The Deacon's Tribulations^'''' 

'* A White Lie^^"* " The Gypsy Queen^^'' etc. 



Copyright, Horace C. Dale, ipo: 



NEW YORK 



Dick &f Fitzgerald 

I 8 ANN STREET 



P5 1'^'=\9 



7 



THE LiSRAf?Y OF 
CONGRESS, 

"Avo C0WE8 Reosived 

OCT. 1 1902 

.CnPVWiOHT ENTRY 

CI ARH vCrxXa No, 

copy a. 



The Steel King. 



Note.— The acting rights of this play are expressly reserved by the author. 
Theatrical managers wishing to produce it should apply to the author, in care of 
the publisher. Amateur representation may be made without such application, 
and without charge. 



CHARACTERS. 



Henry Reber, 
George Green, 
Chas. Henry, 
Bill Anthony, 
Andy Crow, 
Maud Sefton, 
Mother Grundy 
Dimple Darling, 
Nellie Anthony 
1ST Policeman 
2D Policeman 
Singers, Soldiers and Mob, by the company. 

Time, the present ; locality, Rome, Ga. 
Time of represejitation^ two hours and a quarter. 



the "Steel King." 
lawyer and lover. 
a mechanic. 
a staunch Union man. 
black, inside and out. 
with a purpose in life, 
chemist and clairvoyant, 
nobody's fool. 
Bill's daughter. 



SYNOPSIS OF INCIDENTS. 

Act I. — Scene i. The mechanic's home. A startling bit of heart 
interest. Hints of a storm brewing. The dynamite bomb. Ven- 
geance threatened. A test of will power. " Thank God, I've 
triumphed again ! " 

Scene 2. A street. A labor champion and a black knight 
exchange compliments. Labor presents her grievances, suggests 
a remedy, wins a convert. 

Scene 3. The Steel King's home. An appeal. A determined 
man. Explanation. " So down town I go, if that means to my 
death." " Then, sir, you'll have to use force in leaving this room." 

Act II. — Scene i. Same as Scene I, Act I. A vision. A 
startled visitor. Hatred expressed, vengeance implored. Clouded 
faculties. Mischief brewing. Assistance sought and promised. 
Another mental tilt between mother and son. 

Scene 2. A street. Andy angers Dimple. Lively skirmish- 
ing. The black knight bends the knee to the conqueror. Henry 
is assaulted. 



4 The Steel Kingf, 

Scene 3. Exterior of Reber's residence. The two spies. 
The black knight scores a point against Dimple. Mutterings of an 
approaching storm. Consternation. The mob's attack. The 
mechanic to the rescue. The troops arrive. A heroic sacrifice. 
" If you must shoot, direct your men to send their volley into 
me." 

Act III. — Scene i. Same as Scene 3, Act I. A sadly distressed 
man. A noble proposition. An interruption. A mental fencing 
match. An appeal for mercy. Irritating insinuations. " What 
wrong have I done you ? " An amateur photographer. An in- 
teresting scene. The snap shot. The black knight in a calculating 
mood. Throws down the gauntlet to Dimple. Hot shot thrown 
into his camp by Reber. Anthony appears. Explanations de- 
manded. An object lesson. An attempted bribe. " I'll never 
prove a traitor to my fellow-workmen." A startling intruder. 
" Then you die." '' Your arm is paralyzed." 

Act IV. — Scene i. Corridor in Reber's house. Awaiting de- 
velopments. Andy arrives with coveted news. Re-enforcements 
hurry to Henry's relief. Andy arouses Dimple's ire. Proposes 
a divvy. 

Scene 2. Same as Scene i, Act I. The attack. Overpowered. 
Bill reverses scene. An infuriated woman. Minions of the law 
beat a hasty retreat. Threatened vengeance. A terrible arraign- 
ment. Startling revelations. A conscience-stricken victim. Res- 
titution promised. Forgiveness implored. 

COSTUME PLOT. 

Reber. Act I. — Black Prince Albert coat, vest and trousers. 
Dark tie. Patent leather shoes, silk hat, gloves. ACT II. — Suit 
to imitate above, minus hat, coat and vest badly torn. ACT HI. 
— Handsome house coat, light trousers. ACT IV. — Light trousers, 
black Prince Albert coat, silk hat. Fine silver-grey side-whiskers 
and moustache, silver-grey wig with part. 

Green. Act I. — Black Prince Albert coat, light trousers and 
tie, patent leather shoes. Act II, First entrance, Regulation 
army uniform and cap. Second entrance, same with sword buckled 
on. Act III.— Light business suit. Act IV. — first entrance, 
same as Act III with hat' and gloves in hand. Second entrance, 
same as first entrance. Fine light wig with part, light moustache. 

Henry. Act I. — Neat house coat, light vest and trousers, 
Percale shirt and collar, light tie. Congress shoes. ACT II.— first 
entrance, same as Act I. Second entrance, neat dark sack coat, 
black Derby hat. Third entrance, same. Act III.— Same as 
third entrance. Act II, minus hat. Act IV.— Same as Act III, 
hat on in entering house, fine black curly wig with part, black 
moustache. 

Anthony. Act I.— Seedy brown trousers, loose fitting, well- 



The Steel Kingf* S 

worn dark coat, gray flannel shirt with dark four-in-hand tie, 
dilapidated shoes run down at heels, light slouch hat. ACT II. — 
First entrance, same as Act I. Second entrance, hat and coat off. 
Act III. — Same as Act I, minus hat. Act IV. — Same as Act I. 
Hat knocked off in tussle with officers. Rough, short-cropped 
brown wig, stubby beard and moustache of a few weeks' growth. 
Features made up to show the effect of strong drink. 

Crow. Acts I, II, III, and IV. — Light checked trousers, negli- 
gee shirt, gaudy tie, linen sack coat, light slouch hat. Hat off in 
house scenes. Darky wig. 

Maud. — Act I. — Handsome house dress of light material. 
Act II. — First entrance, fine summer outdoor dress with hat and 
gloves to match. Second entrance, same without hat and gloves. 
Act III. — Pretty morning house dress of light material. ACT 
IV. — Tailor-made suit with hat and gloves. Fine modern chest- 
nut wig. 

Mother Grundy. Acts I, II, III, and IV. — Dark dress, dark 
hood and shawl — on in Act III, to be thrown off in Act IV. Grey 
mixed wig. 

Dimple. Act II, — Light summer street dress, pretty light 
hat. Act III. — Pretty house dress. Act IV. — First entrance, 
same as Act III. Second entrance, hat on. Fine modern black 
curly wig. 

Nellie. Faded calico dress, old shoes, blond curly wig. 

Policemen. Blue sack suits. Helmets. Stars. 

Soldiers. Regulation uniform. 

Mob. Grey, red, and blue flannel shirts. Some men with and 
without coats. Hats and trousers of various cuts, shapes, and 
colors, in general appearance rough and repulsive. 

PROPERTY PLOT. 

Act I. — Scene i. Setting as per description. Scene 3. Set- 
ting to be as fine and elaborate as house can afford. Table and 
chairs down L. C.. screen up L. Silk hat for Reber. 

Act II. — Scene i. Setting as per Scene i, Act I, minus dyna- 
mite balls. Broad-brimmed light hat, black beard and moustache, 
long light coat, sword and belt for Mother Grundy. Scene 3. 
Large armchair, palm-leaf fan. Hat for Green. Tattered coat 
for Reber, same style and color as worn in Act I. Clubs, ham- 
mers, pitchforks, axes, ropes, etc., for MOB. Revolver loaded with 
blank cartridges for Maud. Rifles with fixed bayonets for sol- 
diers. Sword and belt for Green. 

Act III. — Setting as in Scene 3, Act I. Small camera for 
Andy. Bell for use off L. Black ball to represent dynamite bomb 
for Mother Grundy. 

Act IV. — Scene I. Hat for Green. Gloves for Maud. Hat 
for Andy. Photo for Andy. 



6 The Steel Kingf. 

SCENE PLOT. 

Act I. — Scene i. Cottage interior in 3 G. backed by woods in 
4 G. Practical door R. in F., window L. Green baize down. 
Lights low. Scene 2, A street in i. G. Scene 3. Fancy inte- 
rior in 3 G. Practical door C. in F. backed by corridor in 4 G. or 
landscape effect. Medallion carpet. 

Act IL— Scene i. Same as Scene i, Act L Scene 2. Street 
in I G. Scene 3. Exterior, set as per description if possible, 
otherwise set house across L. Green baize down. Lights low. 

Act in. —Scene. Same as Scene 3, Act I. Lights up. 

Act IV. — Scene i. Corridor in i g. Lights up. Scene 2. 
Same as Scene i, Act I. Lights up. Lamp out. 

STAGE DIRECTIONS. 

In observing, the player is supposed to face the audience. C. 
means centre; R., right; L., left ; R. C, right of centre ; L. C, 
left of centre ; CD., centre door ; R, D., right door ; L. D., left 
door; D. R. C, door right of centre ; D. L. C.,door left of centre; 
D, F., door in the flat ; C. D. F., centre door in flat; R. D. F., 
right door in flat ; L. D, F., left door in flat ; i G., 2 G.. 3 G., etc., 
first, second or third groove, etc, ; i E., 2 E., 3 E., etc., first, second 
or third entrance, etc. ; R. U. E., right upper entrance ; L. U. E., 
left upper entrance ; Up, up stage or toward the rear ; Down, 
down stage or towards the audience ; X., means to cross the stage ; 
X. R., cross to the right ; X. L., cross to the left. 

R. R. C. C. L. C. L. 



The Steel King. 



ACT I. 

Scene I. — Cottage in 3 G., backed by wood in 4 G. Practical door R. 
and windozv L. in flat. Plain table C. with lamp lighted; small brass 
apothecary scales ; retort arranged with filter paper and liquid dropping 
from it into a large graduate ; several different sized graduates ; 4 quart 
bottles partially filled with different colored liquids ; a number of s?naller 
bottles, some filled and others empty ; a mortar with pestle init ; a blow- 
pipe ; open well-thumbed pharmacopeia with lead pencil afid sheet of fools- 
cap paper covered with calculatiotis upoii it, and a half-dozen round black 
balls the size of a walnut upon it. Pedestal or stand tip L. corner, with 
semi-circular tiers of shelving resting upon it, upoji which are a number of 
small glass jars containing air-slacked lime, flour, sugar, tea leaves and dif- 
ferent colored sands. Lounge, several plain chairs arou7id room. A large 
arm chair with leather cushion directly back of table C. Green baize 
do7vn. Lights low. Time, twilight. Curtaijt rises to soft music. 
Mother Grundy is seated in arm chair, slightly bending oz'er open book ; 
with pencil in hand she rapidly scans calculation upoji sheet of paper. 

Mother G. {dropping fiencil and rubbing Iiands gleefully). 
There ! I've verified that calculation for the hundredth time and 
can't detect a flaw in it. I'm within sight of my goal, and soon 
there'll be revealed to me the secret which has baffled the skill of 
cunning alchemists for ages. I'll turn out pure gold by the ton, 
banish poverty and make every workingman, woman and child a 
millionaire. {Rises, laughing fiysterically.) Ha — ha — ha — I'll 
do it ! I'll do it ! (Calls.) Charlie ! 

Enter Charles Henry R. 2 E. 

Henry {cJieerily). What is it, mother } Are things coming 
your way ? 

Mother G. Yes, my boy, they are indeed. Soon you'll be the 
richest man in the world. 

Henry. Then you'll be the happiest woman. 

Mother G. Don't be too sure of that. How about the other 
one now tugging at your heart strings ? 

Henry {surprised). What do you mean, mother .^ What do 
you know .'* Who has been talking to you about me } 

Mother G. No one — not a soul. I've noted your new found 

love in your eyes— seen her walking by your side 

7 



8 The Steel Kingf. 

Henry. Where ? When ? 

Mother G. Here in this house — whenever you are around 
me, I feel her presence now. Ah, I see her, too ! She's stand- 
ing by your side — a vision of surpassing lovehness ! Shall I de- 
scribe her? 

Henry {quickly). No, no, mother, please don't You make 
cold chills creep over me. {Starts to cross L.) 

Mother G. {te?iderly). Your sweetheart is a rich, brave, 
beautiful woman and loves you dearly. In a vision to-day, I saw 
her save your life. You were about to be killed by a set of infu- 
riated men, suddenly she appeared by your side. Stepping in 
front of you with flashing eyes and a regal air that challenged ad- 
miration she denounced your would-be slayers as a set of arrant 
cowards, and declared you could only be reached over her man- 
gled form. She appeared the incarnation of purity and fearless- 
ness. The grandeur of her daring act of devotion cowed your 
enemies and one by one they shrank away as though heartily 
ashamed of themselves. What did that scene portend }{anxiousty.) 
Have you done anything to arouse the enmity of your fellow- work- 
men } 

Henry. Nothing, mother, but to strongly advise against any 
act of lawlessness. (^At table, picks up a black ball.) What is 
this } 

Mother G. A dynamite bomb. (Harry hastily replaces it 
zipon table, steps R,) 

Henry {searckingly). What is it intended for.^ 

Mother G. {evasively). Ask no questions and I'll tell no 
lies, 

Henry. Was Bill Anthony here to-day } 

Mother G. He was not. 

Henry. Any of his friends .> 

Mother G. No. Why do you ask? 

Henry, Because there is trouble brewing, and you and I must 
steer clear of it. Bill has been drinking heavily and is bent upon 
some devilish mischief, I was told he was coming here to consult 
you as to the best plan for carrying out his designs for revenge. 
Vd like you to persuade him not to violate the law, or jeopardize 
the life or property of a fellow-being. You can do it. Will you ? 

Mother G. Is he aiming at Reber ? 

Henry. Yes, mother, I'll be frank with you ; he is. 

Mother G. {determinedly). Then I'll not lift my little finger 
to save his property or even his life. {Strojigly). He's a scoundrel ! 
A fiend in human form and a robber of widows and orphans. His 
life is a lie, and his wealth a garment his master, the devil, has 
wrapped around \\\vc\— {laughs ivildlyf). Ha— ha— ha! I help 
Reber ! Never, till his black heart changes and justice be done 
me and mine. 

Henry {warniftgly). Mother! 



The Steel Kingf, 9 

Mother G. {unheeding ly). Let his men call, I'll advise what 
to do. I'll — {hast z7y picks up a black ball from table). 

Henry {with power). Not another word, mother. Don't you 
dare give utterance to such a diabolical purpose. Replace that 
ball this instant. (Mother G. obeys). You are beside yourself. 
Now promise to do what I asked. 

Mother G. {deterini?tedly). Never ! 

Henry {warningly). Mother! 

Mother G. {strongly). I won't do it. {Edges down L. of 
table, ditto Henry down L.) 

Henry {determinedly). You must. 

Mother G. {wildly). I won't, I tell you ! 

Henry {warningly). Mother, don't compel me to adopt harsh 
measures with you. 

Mother G. {front of table). I won't— I won't — 

Henry {front of table, strongly). You shall do it. You force 
me to make you do it. {Seizes Mother G. by arm ajid compels 
her to face him). Look me in the eyes ! You shall do it ! I com- 
mand you to do it ! {Looks determinedly into Mother G.'s eyes 
ajnotnent). Will you obey me } (MOTHER G's. head drops upon 
Henry's bosom). 

Mother G. {sobbing). I'll— do — it. Yes, I'll do it, 

Henry {with ringi?ig emphasis). Thank God I've triumphed 
again. 

Quick close in with street in I. G. which is 

Scene II. — whistling heard off L. I. E. 

Enter ANDY L. I. E. whistling " Dixie" at same instant enter 
Bill Anthony R. L E. They pass at C. 

Andy {as he passes). Hello, Bill, {crosses R. whistling. Bill 
stops and looks after ANDY. 

V>\\A. {calling). Say, young fellow. (Andy ^/^/^.) Come here. 
(Andy returns to C.) 

Andy. What's up } 

Bill. Say, are you a member of the union ? 

Andy {puzzled). Member obde union? {Brighte?is up.) Yo' 
jist bet I is. Ole Uncle Abe Lincoln made me dat way back in de 
sixties. Say, am yo'r block in good runnin' order? {Latighs.) 

Bill, I didn't mean a member of the United States, you sassy 
black nigger, but of a labor union. 

Andy {7tettled). Since yo" am so flip wid yo'r tongue I'll jist tell 
yo' dat it am none ob yo'r biznis wedder I is or not, ole mongrel. 

Bill {angrily). What do you mean by classing me with the 
brute creation ? Do you know what a mongrel means ? 

Andy. Ob course I does. It's de opposite ob a {pointing to 
j-^^) thoroughbred, a sort o' cross, betwixt an' between, 'neider 
one thing nor de oder. Say, did you' eber see my piebald pup wid 
his water-spaniel ears, rat-terrier nose an' feet, bull-dog mouf, 
p'inter tail an' Newfoundland fur ? Well, he's a mongrel. 



lo The Steel Kmg;^ 

Bill {tnenacing). Do you mean to say that I look like your in- 
fernal pup ? 

Andy {emphatic ally). No, siree. Yo' am not in de same 
class wid my pup. i3ar's style an pride about him, an' he's 
'spectable. Nuffin' ob de low-down cut-throat 'bout my pup. If 
he looked like yo' he'd been water-logged in a coffee sack long ago. 
{Chuckles^ 

Bill {starting R.). You infernal black rascal, I'll 

Andy {running R.). No yo' won't, 'taint no use yo'r tryin'. 
(Bill stops, Andy near R. I. E.). Say, Bill, if yo' don't want a 
feller to question yo'r color, why don't yo' stop drinkin' whiskey or 
smear on a coat ob whitewash } As yo' is yo' am neider a red or 
a white man. 

Bill {shaki7ig fist). If ever I lay my hands on you I'll make 
you pay dearly for your insults. You are the sassiest nigger in this 
town. 

Andy. An' yo' am de biggest rummy. If yo' wus to die now, 
ole Nick wouldn't hab much fun wid yo', fur yo' would go up like 
a tinder box. A sizz an' a flutter, an' all w^ould be ober 'cept de 
house-cleanin' to get rid ob de smell. Why don't you let rum alone 
an' jine Miss Maud's mission. She'll help yo' git work an' make a 
man out ob yo'. 

Bill. I've no use for help in her line. All I want is a chance 
to earn a living by my trade. If your hound of a master don't 
soon open his factory doors and give us back our old jobs he'll be 
as poor as some of the rest of us. 

Andy. Let me gib yo' a pinter. Bill. Yo* will never move de 
ole man by threats. 

Bill. Then he and his class will have to take the consequences. 
If the laboring men are not to be permitted to earn a living when 
they are willing to work, then by heaven, the wealthy class must be 
stripped of their riches and brought down to our level. No true- 
born American will allow a class of lords and serfs to exist in this 
free country. 

Andy {gleefully). Now yo' are a-talkin'. Dat's de stuff ! 
Gib me sum more. It's good fur de blood. 

Bill. No sensible wage-earner objects to another man's hav- 
ing more of this world's goods than he possesses, but he does ob- 
ject to its power being used as a means for grinding down, starv- 
ing and sweating out great drops of gold from his fellowmen to 
increase his wealth. Every man who puts a dollar into business 
has a right to expect a fair rate of interest for the money he risks, 
but he has no right to make that dollar bring him in ten inside of 
a year at the expense of men he employs by paying them starvation 
wages. 

Andy. Right yo' are agin, Bill. 

Bill. There ought to be a law to prevent such injustice. It's 
the curse of our nation. Capital has labor by the throat and is 



The Steel Kmgf, ii 

strangling the goose which lays the golden eggs. It regulates the 
price of labor, the price of goods labor turns out, and the amount 
of its output. It controls our courts, our press, and buys outright 
elections. It will soon begin to tax the poor for the air they breathe 
and the religion they profess. It's time to call a halt to the money 
power with its trusts, monopolies and combinations, or this country 
will cease to be the " home of the brave, and the land of the free." 

Andy {rimiimg L. and extending hand). By golly. Bill, but 
yo' am a spouter. Gib me yo'r hand — {Is about to shake hands 
with Bill, then quickly backs a^vay a step). Say, yo', yo' didn't 
mean what yo' said 'bout lickin' me, did yo' } 

Bill. No, we'll let that pass. 

Andy {extendijig hand). Den shake, ole boy, shake. How 
do yo' 'spect to bring 'bout a different state ob affairs ? 

Bill. It can only be done by legislation. By the laboring 
classes combining, going to the polls, and electing honest men to 
office who will enact laws for the commonweal of all and grant 
special privileges to none. 

Andy. Kin men be found dat money can't buy } 

Bill. They can easily be manufactured. 

Andy {piizzled). How.? 

Bill. By shooting every officeholder who proves false to his 
pledges and to the men who placed him in power. 

Andy {whistles). Whew ! Den dis coon will keep out ob 
politics. 

Bill. Heroic measures are necessary to stamp out the plague 
of official corruption if our government is to return to one " of the 
people, by the people, and for the people." 

Andy. Right yo' am dar, an' yo' kin put me down to jine yo'r 
union, an' to help bring dat 'bout. {Orchestra strikes chord of 
" Rally Round the Flag." Bill and Andy with a chorus of 
voices off R. I. E. commciice singing), 

" The union for ever, hurrah, boys, hurrah, 
Down with the traitors and up with the stars. 
Then we'll rally round the flag, boys, we'll rally round again. 
Shouting the battle cry of freedom.'' 

(Bill and Anby lock arms, start R. waving hats, and at con- 
clusion of chorus exeu7tt R. I. E. Chorus repeated off with re- 
ceding effect. 

Flats are drawn off disclosing 

Scene III. — Reception room in Reber's house. Stage setting to 

be as handsome i7t all respects as means will allow. Rerer 

down L. C. silk hat in hajid. Green R. C. toying with watch 

chain, Maud C, 

Green. Miss Sefton has given you prudent advice, Mr. Reber, 

and I think it would be wise for you to heed it. 

Maud {advancing and layi^ig left hand upojt Reber's 



12 The Steel Kingf. 

shoulder). Please do what I ask. Don't go down town to-night. 

Reber {slightly irritated). But I must, Maud. I have an 
important appointment to meet. 

Maud {pleadingly). It surely is not of so much importance 
that you need risk life or limb in keeping it. The streets are filled 
with angry, excited men, and your presence will increase their 
frenzy. Please remain at home and ease my fears. 

Reber. It is hard for me to refuse you, Maud, but my appoint- 
ment 7nust be kept. I think you are needlessly alarmed. No one 
will dare molest me. 

Maud, When the passions of men are aroused, nothing is 
sacred. I feel that you are taking your life in your hand by leav- 
ing home to-night. Will nothing move you from your purpose ? 

Reber. Nothing, absolutely nothing. There is no white blood 
in my veins. Why should I fear the passions of my locked-out 
men } {}A.k.vd goes up C. appears determifted). I've only adhered 
to strict business principles. My plant was closed because my 
men refused to work upon a contract I accepted from Dunn & Co. 
whose men were on a strike. Business had been dull for some 
time, and I had been running my works at a positive loss of one 
thousand dollars a month, and thought seriously of closing up my 
shops when Dunn's contract was offered me. I knew that by ac- 
cepting it I could give my men steady employment for months to 
come and thought I would thus be helping them to support their 
unfortunate brothers out of work. What was the outcome. My 
men threw down their tools and refused to do the work. I called 
them together, explained the situation and pointed out the advan- 
tages that would accrue to them and their fellow-men on a strike if 
they continued at their posts, but all to no avail. My statements 
as to business conditions were not believed, my motives in accept- 
ing Dunn's contract were called in question, and I was accused of 
trying to turn my works into scab shops. Failing to get my men 
to do Dunn's work, and not wishing to bankrupt myself, I ordered 
my mills to be closed. That is a statement of the trouble between 
my men and myself in a nutshell. I have only done what any 
other sensible man in my employ would have done had he been in 
my position, and there is no justice in the abuse which has been 
heaped upon me. I've done nothing to merit bodily injury at the 
hands of my \x\tn— (strongly) so down town I go, if that means to 
my death. {Starts up C. Maud quickly goes up C, stands in 
front of door, voice, form, and features depicting ifitense deter- 
tninatio?i). 

Maud. Then, sir, you'll have to use force in leaving this room, 
for I'll never be a party to your suicidal resolve. [Defiantly ex- 
tends arms across door to bar Reber's exit, Reber L. C, Green 
R. C. silently applauding. 

Quick Drop. 



ACT 11. 

Scene I. Same as Scene I, Act I. Dynamite balls have disap- 
peared from table. Mother G, seated at table in easy chair 
in clairvoyant state. Curtain rises to weird, plaititive music. 
Mother G. {strained voice). It's not clear to me what the 
scene means. {^Slightly leans forward as though trying to dis- 
cover something in the distance.) I see groups of men standing 
upon street corners gesticulating wildly, and many others scurry- 
ing to and fro in a great state of excitement. A dense cloud of 
mist hangs between us through which I cannot penetrate. Ah, 
what do I see ! {Brightens up.) Charlie's sweetheart emerging 
from the cloud riding a wind horse. She's coming this way bearing 
a message, and is excitedly urging her steed to his utmost speed. 
He carries her through space with the rapidity of a meteor. 
{Rapidly.) They've left the town, crossed the river, turned the 
brow of the hill, are passing oiyr house — {Excitedly, half rising^ 
No, see, they stop ! {Raps are heard upon door R. in Flat. 
Mother G. sitiks back in chair, shudders, passes right hand over 
face. Rafs are refeated.) 

Mother G. {starting, speaks naturally). What's that } 
{Listens, raps are repeated. ) Some one is knocking. Come in, 
{Rises.) 

Enter Maud door in Flat. Appears excited. 

Maud {quickly). Good evening. Is Mr. Henry in ? 

Mother G. He is. 

Maud. Can I see him } 

Mother G. You can. Was he expecting a call from you ? 

Maud. No, my presence is due to a hastily formed resolve. 

Mother G. Well, I knew you were coming, saw you leave 
town, cross the river, turn the brow of the hill and stop at our 
door. Does that surprise you ? stranger things than that have 
happened. You've been here before. (Maud shakes her head, 
no.) Yes, you have, I tell you. Not in your corporeal form, per- 
haps, but your spiritual essence has often glided over this floor. 
Not an hour ago it stood on the same spot you now occupy. 
Come, place your hand in mine and let me tell you what the future 
holds in store for you. 

Maud {alarmed). Excuse me, — but — I'd rather — not. {Quick- 
ly.) Will you please call Mr. Henry. My business with him is 
urgent. 

^3 



14 The Steel Kingf, 

Mother G. What is the excitement down town about ? 

Maud. The labor classes are rising. A riot is imminent. I 
fear arson and bloodshed. 

Mother G. Whose property is threatened ? 

Maud. Mr. Reber's. 

Mother G. {excitedly). Do you mean Henry Reber, the Steel 
King } 

Maud. I do, but why does that excite you } 

Mother G. {7uith force). Then I hope his mills and his palatial 
residence will be levelled to the earth, his mines flooded, and he 
stripped of his ill-gotten wealth. He's an unprincipled robber. 
{Ironically.) Oh, no. I'll not advise his men to burn and destroy, 
but — {with intense power) I hope they will do it. {Abruptly.) 
I'll call Mr. Vi&nvy. {Crosses up K. gleefully rubbing hands. Maud, 
terrified, retreats a few steps L.) So justice is about to be done 
me. Good ! ( When near R. U. E.) 

Enter Henry R. U. E. 

Mother G. {bowing a)id indicatins^ Maud). A lady to see you, 
{Exit R. 2E.) 

Henry {crosses \..). Miss Sefton, this is indeed a surprise. May 
I ask what brought you here .'' 

Maud. A pressing need for yoiirhelp. {Anxiously.) Our worst 
fears are about to be realized. Mr. Reber's men are bent upon 
mischief, and he has foolishly gone down town. Knowing your 
influence with the men I hurried here to see if I couldn't prevail 
upon you to follow him, and, if possible, protect him from bodily 
injury. 

Henry {quickly). Certainly, I will. I'll get my hat and return 
with you instantly. {Starts R., is arrested by Maud's question.) 

Maud. One moment, please. Who was that woman who left 
us.? 

Henry. My mother. 

Maud {horrified). Your mother ! 

Henry. Yes, Miss Sefton. {Anxiously.) What did she say to 
you ? (Maud appears embarrassed.) Never mind answering that 
question. I'm sorry she impressed you so unfavorably, yet I'm 
sure you'll make allowances for her when I tell you — [brokenly) 
that her — mind — is unbalanced. She has had a heavy cross to bear 
the last eighteen years, and her reason gave way under the strain. 
Now you understand why I avoided your questions in regard to 
my domestic affairs. I did not want you to know of my misery. 
Since you have discovered one of my secrets, I'll make an explan- 
ation that you may the better understand some other matters. 

Maud. Tell me nothing likely to give you pain. I did not 
come here to pry into your family secrets. 

Henry. That I'm sure of, yet what I am about to tell you will 
set some other matters straight {speaks rapidly). Before mother's 
mind became affected she had two hobbies — chemistry and clair- 



The Steel Kingf, 15 

voyance — both of which assumed intense form after her great 
misfortunes. Hoping to relieve her mind by employment I set up 
this humble laboratory and encouraged her to make experiments 
in her favorite study. It has proved a source of great relief to her. 
Her other hobby led her to take up fortune-telling. While its 
practice fills me with disgust I dare not forbid her indulging in it, 
for it does much to divert her mind from the sorrow which 
impaired her reason. She is not generally known as my mother, 
for it is one of her whims to be called Mother Grundy. Have I 
explained enough to place mother in a better light ? 

Maud. You certainly have. Was she ever examined with a 
view of being cured of her trouble ? 

Henry. Yes. An expert has assured me that the righting of 
the foul wrong done her would restore her reason. 

Maud. Are you working to that end.'* 

Henry. I'm doing the best I can. 

Maud. Can't I help you in any way ? 

Henry. Not at present, thank you. 

Mother G. (Of R. U. E.) Ha— ha— ha ! 

Henry {startled). Hark ! 

Mother G. {Off R. U. E.). I'll lead the men myself and set 
them an example. Ha — ha — ha ! 

Henry {alarmed). Mother is concocting some scheme which 
must be nipped in the bud. Are you afraid to return home alone ? 

Maud. Certainly not. No one will molest me. 

Henry {speaking earnestly andrapidly). Then I must ask you 
to leave me at once, for I must deal with mother alone. {Goes 
quickly to door in Flat and opens it. 'WiK\JT> folloias him.) You 
can depend upon me to follow as speedily as possible and to carry 
out your wishes. {Bows as Maud quickly exits. Closes door and 
goes down back of table C.) How shall I proceed } 

Re-enter Mother Grundy R, U. E., head slightly bent for- 
ward, eyes cast upon floor. Has 07i broad-brimmed light hat, black 
beard and moustache, long light coat buttoned up to chin and 
sword buckled around waist. Henry pretends to be examining 
book upon table, but casts sidelong glances at Mother Grundy. 

Mother G. I'll show them how to be a leader. Ha— ha—ha ! 
{Starts for door in Flat.) 

Henry {startlingly). Mother, where are you going ? (Mother 
G. starts, quickly snatches off hat, beard and moustache with 
right hand and places them behind her, while trying with left 
hand to c otic eal sword with skirts). 

Mother G. {sheepishly). Nowhere. 

Henry. Come here. (Mother G.goes down C. Henry meets 
her at back of easy chair.) Give me that hat, beard, and moustache. 
Now take off that sword and coat and let me have them. (Mother 
G. obeys. Henry lays articles on floor, coat on top.) Did you 
think you were going to a masquerade ball } 



1 6, The Steel Kin§f. 

Mother G. (/// at ease). No, I was going to attack our com- 
mon enemy. 

Henry. And spoil all my nicely laid plans, eh ? Have you 
lost faith in your son ? 

Mother G. He moves too slowly. It takes him too long to 
strike. 

Henry {tenderly seating Mother G. /;/ easy chair). He 
moves slowly because hasty action would ruin his plans. {Stands 
back of chair, voice sympathetic, features depicting intense deter- 
mination, hands rapidly passing over Mother Grundy's brows 
and tejnples.) You are very tired, mother. 

Mother G. I know I am. 

Henry. And sleepy too. 

Mother G. {yawning). That's true. A drowsy — feeling — is 
— creeping — over — me. 

Henry. Then go to sleep. {Peers into face from back of 
chair,) That's right, close your eyes. A refreshing nap is what 
you need. {Determinedly.) Go to sleep and don't stir until I 
call you. {Makes a few passes over Mother G.'sface, steps L. , 
picks tip coat and tenderly places it beneath his mother s head for 
a pillow, arranges her comfortably /w chair, theft stirveys her for 
an instajtt.) My victory was easier than I expected. You look 
comfortable, and are secure from mischief-making for this night. 
{Qtiickly). I'll get my hat, lock up the house, and try to overtake 
Miss Sefton. {Starts quickly R.) 
Quick close in with street in G. which is 
Scene 2. — A slight scuffle heard off \.. I. E. 

Andy {wamingly off\.. I. E.). Lookout dar ! Yo' come nigh 
shovin' me in de dirty gutter. 

Dimple {off L. I, E., warntly). I wish I had. I wish I could 
shove you headforemost into the river. 

Andy {tantalising ly). Yo' do, eh } 

Dimple {angrily). Yes, I do. What is your object in follow- 
ing me ? 

Andy. To protect yo', of course. ' Tain't safe fur a Dimple 
darlin' to be on de street at night like dis. 

Dimple. I'm able to take care of myself, and I want you to go 
about your business and stop prying into my affairs. If you don't 
{firmly) there'll be trouble in store for you. I've spoken. Remem- 
ber. 

Enter Dimple briskly L. I. E., followed by Andy. When 
Dimple reaches C, she glances over left shotdder, stops abrtiptly, 
ttirns L. Andy at L. C. 

Dimple {irritated). Don't you intend following my advice } 

Andy {grinning). Yes, when I'se good and ready. 

Dimple (hotly). You're the most exasperating little nigger I 
ever ran across ! 

Andy {coolly). Where am yo* goin' } 



The Steel Kin^. 17 

Dimple {ftcrious). None of your business. 

Andy. Yo' needn't 'spect to meet Brass Buttons on de street 
to-night fur I seed him all rigged out in his soger finery, spoonin' 
wid Miss Maud. 

Dimple {affectittg indifference^ Ah, indeed. Is that a fact .^ 
So you have been playing the spy on Miss Maud, too, have you 
{significafitly shaking Ji?iger at Andy).'* Let me tell you some- 
thing. There'll be an interesting scene to-morrow morning when 
Miss Maud calls you to account for what you've told me. 

Andy {alarmed). Don't yo' go an' blab on me ! 'Tain't a 
word ob truf in what I told yo'. Yo'U kick up an awful row. 

Dimple {pleased). I know I will, but that row will be a tame 
affair compared to the one which will follow when Mr. Reber is 
told that it wasyou who locked the doors, hid the keys and com- 
pelled him to leave his house to-night by a front window. 

Andy {frightetied). Did yo' see me lock de door an' hide 
de keys } 

Dimple {firmly). I did. 

Andy {gasping). An' — an' — yo' 'tend to tell on me } 

Dimple, Certainly. 

Andy. An' hab me fired ? 

Dimple. That's what you deserve. 

Andy. I wus only tryin' to help Miss Maud keep de ole man 
in. 

Dimple. Then why hadn't you sense enough to nail down the 
windows } 

Andy. I never thought ob dat. {Pleadingly) Say, Dimple, yo' 
won't peach on me, will yo' ? I'll gib yo' one, two — free months 
pay if you don't. (Dimple starts slowly R. Andy follows.) 
I'll promise to do anything yo' axes. 

Dimple {at R. C). Will you promise never to meddle in my 
affairs again .'' 

Andy {quickly). Yes. 

Dimple. Never follow me on the street } 

Andy. Nebber, as long as I lib. 

Dimple. Nor put any one else up to do it } 

Andy {crossing breast). 'Deed an' double 'deed, I won't. 

Dimple. Then kneel down and swear that you'll keep your 
promises. 

Andy {expostulatingly). Right here on de street ? 

Dimple. Yes, sir. Right here, this minute. Your simple 
promise isn't worth that ! {Snaps fingers.) 

Andy {quickly glancing L). But dar am 'at sneakin', tell-tale 
Billy Smith peepin' 'round de corner. 

Dimple. I don't care if there are fifty Billy Smiths looking 
this way. You have got to do what I tell you, or take the con- 
quences. 

Andy {turning quickly R., shaking right fist and yelling ex- 



i8 The Steel Kingf. 

citedly). Scat ! Draw in yo'r turtle snoot an' scoot fur yoV life 
'fore I catches yo'. {Makes feint to start R. and beats a tattoo 
with feet.) He's off. Ue coast am clear. {Falls to knees and 
ele^uites right artn.) I swear it. 

Dimple {quickly). Now, I'm safe. See to it that you remem- 
ber that oath, but don't forget {significantly) that I made you no 
promises. 

{Quickly exits R. laughing.) 

Andy {rising disgusted). Blamed if I ever had a meaner or 
a — {brushing knees) dirtier trick played on me. De debbil knowed 
what he wus 'bout in de Garden ob Eden when he got Eve to 
tackle Adam 'stead 'ob 'sportin' wid her hisself. He got her to 
bring grist to his mill, an' her daughters hab been helpin' him 'long 
in his bis' nis eber since, Dar's many a cloven foot peepin' out 
under a silk petticoat, an' no man is sartain sure ob heaben dat 
follows de rustlin' ob wimmin's skirts. I'se wiser now dan a half 
hour ago, but I'll get even wid dat gal Dimple. She's in lub wid 
Lawyer Green, an' is conceited 'nough to b'lieve she can side- 
track Miss Maud. I'se put a bug in her ear dat will make her take 
de shortest way home dat she knows ob. Dat gibs me an idea 1 I 
must hurry home, too, and work it for all it's worth. {Dis- 
gustedly.) I wonder if that imp ob a Smith seed me do de 
kneelin' act } If he did an' blows to de boys I'll fertilize a ten- 
acre lot wid his carcass. {Starts L.) 

{E7tter Henry L. i. E.) 

Henry. Eh, Andy, you are the person I've been looking for. 
Can you tell where I'll be likely to find Mr, Reber } 

Andy. I seed him go in de law office ob Brown & Co., 'bout a 
half hour ago. 

Henry. Then I'll probably find him there. Have you seen 
Anthony to-night } 

Andy. Yes, sah, he's locked arms wid de debbil again, an' 
actin' as his spokesman. His tank am half full of bad whiskey an' 
his top mast will soon need splicin' to keep his colors flyin'. 

Henry. That's bad. I must see him at once. 

Andy {quickly, pointing off R.). Dar he goes now. 

Henry. That's true. {Calls.) Ho, Anthony! Can I see 
you a moment } {To Andy.) Leave me please. I want to talk 
with him alone. 

Andy. All right, I'm off. Only be keerful an' don't cross 
him. He's in a stavin' humor. 

{Exits L. I E.) 

Enter Bill R. i Y.., unsteady. 

Bill {gruffly). Well, what do you want ? 

Henry. I'm sorry to see 

Bill {interrupting). No preaching. It's bread I want, not 
lectures. 

Henry. It's evident that you are not in need of liquids. How 



The Steel Kmg;» 19 

about your promise to Nellie and me, " one glass of whiskey at a 
time ? " 

Bill. I've kept it. 

Henry. Then how do you account for your present condition. 

Bill. Ten glasses, one at a time, solves the problem. 

Henry. Ah, I see. You've kept the letter of the law, but 
broken its spirit. Is it true that you and the boys have planned to 
destroy Mr. Reber's property to-night ? 

Bill {angrily). That's none of your business. 

Henry {coolly). That may be your view, but I see things in 
a different light. As a law-abiding citizen it is my duty to prevent 
crime if possible, and I ask you for the sake of Nellie, who loves 
you dearly, to go home, stay there and avoid trouble. 

Bill. I shan't do that. 

Henry. Then I shall warn the authorities of your purpose and 
aid them to defeat it. 

Bill {savagely). No, you won't, for, damn me, I'll throttle 
you first. There shall be no traitor to labor in our ranks. {Rushes 
upon Henry and attempts to seise him by throat. Henry 
grasps Bill by wrists and after a short struggle forces hi?n to 
knees.) 

Henry. What do you mean by trying to murder one who has 
so often befriended you ? Are you so rum crazed as to be unable 
to distinguish between friend and foe ? What would Nellie think 
were she to hear of this attack upon me? It would almost break 
her loving heart. (Releases Bill and helps him to rise.) Again 
I beg of you, by the love you bear your child, to go home. If you 
longer remain upon the street in your inflamed condition there is 
no telling what may happen to you. 

Bill, I can't go home. The sight of my child maddens me. 
She is slowly dying of starvation, and from a lack of medicines 
which Reber's cursed stubbornness prevents my providing. As 
sure as my child dies, so help me, God, I'll kill that wretch. 

Henry {horrified). Hush ! Hush ! you must not utter such 
terrible threats. Do what I asked you to do. and I'll pledge you 
my word that Nellie's every want shall be attended to. 

Bill. How } I'll stand' no charity appeals in her behalf. Will 
you make Reber open his mills and give me work } 

Henry, That I cannot do. 

Bill. Then he's got to take the medicine prepared for him, and 
I'll help shove it down his throat. {Exits quickly R. I. E.) 

Henry {quickly starting R), Hold up, Anthony, I've another 
offer to make you. 

Bill {offK. i. E). Too late! The die is cast. 
{Exit Henry R. i. E.) 

Flats are drawn off disclosing 



20 The Steel King. 

Scene III. — Reber's colonial residence in 4. G Door C, windows 
R. and L. Practical portico elevated three feet, length 
of house, with practical steps C. leading up to it. Large 
armchair upon porch R. with pabn-leaf faft upon it. 
If practical, use bunch or cluster lights R. and L. rear for 
lighting effect. Have doorway backed to represent vestibule, 
with drop light from flies. DiMPLE discovered tcpon portico, 
ear to keyhole of door facing R. Andy crouching L. of C. 
near porch watching door and manifesting delight. 

Andy {after a slight paused. Boo ! 

X^iyLV'LY. {startled). Oh! {Turns, L. clasping hands over heart.) 
My, but that startled me, my heart is beating like atrip hammer. 

Andy [rising, gleefully). Now, I'se got yo' whar I wanted yo', 
Miss Spy. Yo' blow on me to de ole man if yo' dare. 

Dimple [at edge of portico). What did you mean by causing 
me such a fright } 

Andy. I wanted to let you know dat I had ketched yo' in a mean, 
sneakin', spy act. Yo' can't git me fired now, 'less yo' git yo'r 
walkin' papers, too. Did yo' hear de music of Brass Buttons 
clinkin' 'against a silk waist at dat key hole } 

Dimple {irritated). No, I didn't. I was merely looking 
through the keyhole to find out what prevented my latch key 
from opening the door. 

AT<iT>Y {whistles). Golly, but dat am a whopper! Do yo' see 
wid yo'r ears ? Maybe yo'U deny listenin' at de keyhole ob de 
sittin'-room door, too, an' havin' to run like sin to 'scape bein' 
ketched by Brass Buttons an' Miss Maud comin' out in de hall. 
{Gleefully, as DiMPLE descends steps.) Oh, I'se got you down 
fine. I icnowed I'd put a bug in your ear an' dat yo'd hurry home 
as fast as yo' could, so I scooted home, too, so as to watch yo'. 

Dimple. You are a mean, contemptible, lying little nigger. 
That's what you are. Didn't you swear never to watch me again } 

Andy. 'Course I did, but oath wus not bindin' in de eye ob de 
law, 'cause it was wrung from me by propulsion. 

Dimple. I wish — {Loud cry of angry voices heard from rear, 
startling Dimple and Andy.) What does that mean ? 

Andy. 'Spect de riot am started. I'll see. 

{Quickly exits L. 3 Y.. followed by Dimple.) 
Enter Green and Maud from house, stand ttponporch. 

Maud {anxiously). I am greatly alarmed, Mr. Green. I do 
wish Mr. Reber had remained at home. His going down town a 
night like this and exposing himself to the fury of the inflamed pas- 
sions of his men seems to me like flying in the face of Providence 
and inviting destruction. 

Green {hat in hand). I'll frankly admit that your fears are not 
without a reasonable foundation and they are shared by others. 
Yet I hope that no harm may befall Mr. Reber. Our authorities 



The Steel Kin^» 21 

evidently fear trouble to-night and realize their inability to cope 
with it, for I received a telegram from our Governor a half hour ago 
ordering me as captain of the Light Horse Guard to hold my men 
in readiness to assist the civil authorities in preserving law and order. 
My men are now assembled under arms in the armory and are 
ready at a moment's notice to quiet any breach of the peace that 
may occur. My instructions are to uphold the majesty of the law, 
and to protect the lives and property of any who are in danger from 
unruly elements at all hazards. {An mdisimct cominotio?i heard 

Maud {greatly alarmed). Hark ! What does that mean ? {A 
scurrying of feet is heard off R. and voices are heard in the 
distance, " Give 7is bread or death!" ''Down with baron rob- 
bers / " " Steel Kings ! " " Oppressors of the poor, who deny bread 
to starving me7i,wome7i and children I") Trouble is fomenting 
and the fires of anarchy are being lighted ! A reign of terror will 
soon be upon us. {Extends arms aloft.) God have mercy upon 
us and avert bloodshed and the horrors of mob law. 

Green {placing hat upon head and descending steps). I must 
be off to my post of duty. Good night, Miss Sefton. Be of good 
cheer. Hope for the best and I trust all will end well. 

Maud. Goodnight. Doyour duty in the fear of God. While 
you watch, I shall pray. [Exit Green L. 3 E., hurriedly ; Maud 
into house.) 

{ Terrific co7nmotio7i off R. which ino7ne7itarily beco77tes louder 
and nearer. Fra7itic cries are heard., " Dont let hii7t escape ! " 
" /cm the scotmdrel! " " Ha7ig the wretch ! " " Away with hi77t 
to the 7iearest la77tp post ! " " He fights with the fury of a mad- 
7nan I " " Hold hi7n, hold hitn. He's off again / " A fearful 
cry of rage is uttered, " Catch hi7n ! " " Seize hi77i ! " acco77t- 
panied with the sotmd of run7ii7ig footsteps.) 

E/iter Reber ru7mi7ig R. I.E. Hat off, coat in tatters, col- 
lar burs ted i7i front, see7ns itearly exhausted a7id is badly 
frighte7ied. Gla7ices over left shoulder as he enters, trips and 
falls. 

Reber {hastily risi7ig). The hounds are after me. Oh, for 
strength enough to reach my home ! {Starts quickly for house, is 
intercepted by Anthony a7id four 77ie7t who rush i7i fro77i R. U. 
E.) 

Bill [savagely seising Reber). No, you don't ; we've got you 
now. Help me secure him, men. {Me7i surround Reber who 
fights furiously. Me7i rush i7t R. 1,2 and 3 E. ar7ned with 
clubs, ha7nmers, pitchforks and ropes. Suit 7iu77iber of 7710b to 
stage capacity.) 

Reber {screa77ti7ig?j. Help ! Help ! Help ! I'll be murdered ! 

Re-e7iter Henry ru7i7ii7ig R. i E. He furiously brushes 7nen 
aside a7id forces his way C. At sa7ne i7ista7tt re-enter Andy L. 
2 E. 



22 The Steel Kin^. 

Bill {trying to force Ke^kk to kjiees). Down on your knees 
and pray. Your time in this world is short. 

Henry {furiously attacking men nearest Reber). Release 
that man, you cowardly scoundrels ! You shall not injure him in 
my presence. 

Andy [striking R. and L.). Plug de low cusses right an' left. 
I'se wid yo'. 

Bill. Treason in the camp. Down with monopoly sympa- 
thizers ! {Men up07i outer circle crowd toward C, Reber, 
Henry ««^/ A^T>Y fg/tt desperately, but are gradually being over- 
powered. Re-enter MAUD frojn house with revolver in hand. 
Takes in situation at a glance. Raises revolver and fires over 
head of 7nenwho rush pell mell down a few steps leaving Reber 
at C, Henry to his R. and Andy to his L.) 

Bill [startled. Faces Reber, back to porch). My God, what 
is the meaning of that ! {Hastily gla?ices over left shoulder. 
Henry quickly strikes him and knocks him down. 

Henry {quickly seizing Reber, speaks rapidly). Now is our 
chance, Andy. Into the house with him in a jiffy. Be quick. 
(Andy seizes Reber, who totters from weakness and with 
Henry's help starts running up with him. Bill rises qicickly. ) 

Bill {savagely to mob as he starts up). Seize him ! {Mob 
starts up. lAAlJIi fires over mens heads. They fall back. Bill 
halts.) 

Maud. Don't compel bloodshed, men. Go home and give up 
your wicked designs. (Reber, Henry, and Andy start up steps 
of porch.) 

Bill {preparing to rush up). One grand rush, boys, and the 
man and house will be ours. Ready ! 

Re-enter Green L. 3 E. leaditi^ a body of soldiers, single file, 
on a double quick. Have enough soldiers to line up across L. 3 E. 
to R. 3 E. 

Green {at R. 3 E.). Halt ! Left face ! {Men obey orders. 
Maud retnoves fan fro7?t chair, Reber is seated iti it. Maud 
stands R. aftd fatis Reber while watchifig every moveme7it of 
men below. Andy stands 1.. of Reber. As soon as Reber is 
seated, Henry quickly descends steps, passes back and around \^. 
e?id of soldiers and takes position at L. 2 E.) 

Bill {enraged). Charge upon the blue-coated minions of 
wealth, boys, and trample them underfoot. Be quick ! {Mob with 
yells of rage start tip, but halt when gtms are trained up07i the7n.) 

Green {quickly, elevatijtg sword. Men obey conunaftds). 
Ready ! Aim ! 

Henry {running, C. and facing soldiers, and slightly in ad- 
vance of mob. speaks in thrillifig tones.) My God, captain, don't 
slaughter these poor, misguided, passion-crazed men. If you must 
shoot — {elevates arms) direct your men to send their volley into 
me. 



The Steel Kin^. 23 

Maud {shrieking as she falls to knees a7id clasps hands). 
Spare him ! Spare him ! This is awful ! 

Reber {quickly rising, speaks with intettse excitement^ but with 
labored effort). Don't shoot— Captain.— Order— your men to — 
present bayonets — and hold the mob at bay. 

Quick Drop. 



ACT in. 

Scene — Same as Scene 3. Act i. Cur fain 7'ises to music. 
Reber seated at table L. C, right elbow upon table, chin 
resting in pabn of hand, lost in thought. Lights up. Enter 
Maud j-//<?;///j/ D. C. ►SVfi- Reber. Goes down and lays hand 
upon his left shoulder. Reber starts. 

Maud {anxiously). Are you feeling badly, sir? 

Reber. Yes, I'm so disgusted and heartsick at iny men's 
unjustifiable attack upon me last night that I feel tempted to dis- 
mantle my mills. 

Maud. That would prove a terrible calamity to this town. 
Better sell your plant and retire from business. 

Reber. Gladly would I do that this day had I a purchaser for 
it. 

Maud. I'll buy it. 

Reber {surprised). You'll buy it ! What would you do with 
it.? 

Maud. Run it upon a co-operative plan. My men receiving 
the market value for their labor and a pro rata share of all profits 
above ten per cent upon capital invested in the plant. Six per cent 
of that would represent my dividend ; two per cent repairs ; 
while the remaining two per cent would go into a sinking fund 
with the understanding that when it equalled the capital I origin- 
ally invested it would be handed me and my plant become 
the property of my men. Don't you think such a plan would 
prove an incentive for men to give the best returns for labor 
possible } 

Reber. I certainly do. It would be to their interest to work 
hard, use material to the best advantage, and exercise care in the 
use of machinery and tools. 

Maud. Just so, sir. {Enthusiastically.) Every well-directed 
thought and blow struck would mean that much toward their eleva- 
tion to proprietorship. It would create pride in the character of 
work turned out ; contentment that capital was not trying to take 
advantage of labor's necessities ; cement the men in a bond of 
brotherhood having in view the common weal of all, and help pave 
the way for the ultimate triumph of Christianity. Does not my 
plan commend itself to your thoughtful consideration } 

Reber. No, it is impracticable; too much of a one-sided ar- 
rangement. 

Maud. I'm sorry to hear you say that. I know the revenue I. 

24 



The Steel Kingf, 25 

would derive from my investment would not enable me to accu- 
mulate money rapidly, yet it would enable me to lend a helping 
hand to those who were obliged to toil for their daily bread, which 
would give me far greater pleasure. I consider the fortune left 
me by my father in the light of a sacred trust, for which I shall 
some day be called upon to give an account. It came not into my 
hands by chance, but was committed to my care by a loving Cre- 
ator for a wise purpose. I feel keenly the responsibility resting 
upon me and have no desire to increase it by adding to my wealth. 
In thinking how I could best employ my capital, so as to improve 
the condition of mankind, bring happiness to myself and present 
an example for holders of wealth to pattern after, I conceived the 
plan I have just mentioned. I believe it to be a feasible one. It 
surely will attest my love for my fellowmen and enable me the 
more successfully to carry out my life's mission. 

Reber. What is that ? 

Maud. To make the world better and brighter for my having 
lived in it. Will you sell me your mills.? {Pleadingly.) Please 
do, for I wish to end the terrible suffering of the men, women, and 
the innocent children of our town which I am daily called upon to 
witness. 

Reber {with warmtJi). No, I will not. My advice to you is 
to give up your fanatical religious ideas, let your capital remain 
where I have salted it down for you in good first mortgage securi- 
ties, and leave the manufacturing business to be looked after by 
those qualified for the business. 

Maud. I 

Enter Henry D. C. ushered in by Andy. 

Andy. Mr. Henry to see Mr. Reber on 'ticular bis'nis. (£'.r- 
//j D. C. Reber rises.) 

Henry. Good morning. Miss Sefton, Mr. Reber. (Maud 
bows. ) 

Reber {pleasantly). Good morning, Henry. 

Maud (/<? Reber). Excuse me, please. {CrossesK. and exits 
R. 2E.) 

Reber {going up). I'm glad to see you. {Grasps Henry's 
hand, who appears sightly displeased.) I was just on the point 
of sending for you. 1 wanted to thank you again for saving my 
life. You acted nobly last night, as but few men would dare do. In 
risking your life to save mine, to prevent bloodshed and the usher- 
ing in of a reign of anarchy you have won the gratitude of myself, 
your fellow townsmen, and that of our State. 

Henry. I did but my duty, sir, as I would others do to me, so 
please let us dismiss the subject. Do you recall a promise 
made me to fulfil any request which lay in your power to 
grant ? 

Reber. I do. It was made after your refusal to accept a 
check for stopping my runaway team and probably saving my life. 



26 The Steel King. 

Henry {significantly). You have a good memory for some 
things. 

Reber {abruptly). What did I ever do to gain your enmity? 

Henry. Excuse me, sir, but I'd rather not answer your 
question. 

Reber. Then state the object of your visit. 

Henry. There is a rumor current upon the street that you in- 
tend to prosecute Anthony for leading the attack upon you last 
night. May I ask if it be true ? 

Reber {with emphasis). It is. 

Henry {earnestly). Then, sir, I beg of you not to do it. By 
granting my request you will fulfil the promise made me and re- 
lieve yourself of every obligation that you feel you owe me. 

Reber {astonished). Why, man, what do you mean } Do you 
think I'll permit a man to attempt to kill me and then let him go 
scot free ? Do you forget that man would have killed you had 
it not been for the interference of the troops last night } 

Henry. No, sir. 1 do not forget it, neither do I forget that 
Bill was under the influence of vile whiskey, was smarting from 
the blow I struck him and the defeat of his purpose when he at- 
tacked me. I had a long talk with him last night after the excite- 
ment subsided, and after convincing him that the blow I struck 
him saved him from the gallows, he freely forgave me for it and 
acknowledged me as his friend. 

Reber {searchingly). Was it you who hustled him so quickly 
to a place of safety and prevented the officers from arresting him .'* 
{A slight pause. Henry slightly bows head, eyes upon Jloor.) 
Yes, I'm sure of it. You are a strange man ! First you risk your 
life in my behalf ; then offer it as a sacrifice for a mob's sins ; then 
when attacked with murderous design, you seize your would-be 
murderer and hurry him off to a place of safety to prevent his ar- 
rest, and finally win his friendship. Such actions are beyond my 
comprehension. To what are they due } 

Henry. To a simple desire to preserve the laws of my 
country, aid my fellowmen, and to {pointing upward) serve my , 
Master. 

Reber. A trinity of motives, eh ? Not a bad code of principles 
to live by. I'd like to grant your request, for I owe you much, yet 
I don't like the idea of that scoundrel escaping the punishment he 
justly deserves. 

Henry. He's not a bad man at heart. Whiskey has got the 
upper hand of him just now. Prior to the closing down of your 
mills, there wasn't a kinder husband or father to be found any- 
where. Since that time, he's gone down the road to perdition at 
a rapid pace. He's exhausted his credit around town, and his poor 
wife and children are on the verge of starvation: It was the sight 
of their misery last night that drove Bill to frenzy. 

Reber. Do you know where to find him } 



The Steel Kingf^ 27 

Henry. I do. 

Reber. How long will it take you to bring him here ? 

Henry. About five minutes. 

Reber. Then do so, I'd like to ask him a question or two. 
Upon his answers will depend whether I grant your request. 

Henry, Will you pledge me your word that no treachery is 
intended ? 

Reber {surprised). Why, what do you mean ? 

Henry. That he will not be arrested if he appears here, and 
that no spies will be employed to shadow him when he leaves. 

Reber {wamily). What do you mean by such insinuations ? 
Do you consider me a petty trickster and unworthy of confidence } 
You have grossly insulted me and deserve to be kicked out of my 
house. 

Henry. I'm sorry that I've offended you. Such was not my 
intention. I was only thinking of Anthony's safety. I desire his 
reformation and believe it can be effected if mercy be shown him 
in his present situation. I spoke hastily — out of a heart full of 
bitter memories. 

Reber {z'nqin'rzngly). Towards me .^ 

Henry {hesitatingly). Yes, sir, 

Reber. Why, what wrong have I done you ? 

Henry. Please don't press the matter, Mr. Reber. I feel 
that the near future will reveal it in all its fulness, and that events 
are shaping themselves to that end. I'm ready to produce An- 
thony. Shall I do so and let him speak for himself } 

Reber. Yes. To allay all fears I'll promise that should he 
fall into the hands of the authorities as an outcome of the inter- 
view, I'll use my influence to have him released, even to the extent 
of refusing to appear against him. 

Henry. Thank you. Good morning. {Bows and starts 
up C.) 

Reber. I'll see you out. {Exeunt Henry rt;/^ Reber door C.) 

Enter Andy L. 2 E., excitedly, with small camera in ha?td, 

Andy. By golly, where shall I hide } Dey am comin' dis way. 
{Runs up and gets behind screen L. C.) 

Enter Green ^w^/ Dimple L. 2 E. Go doivn C. 

Green. Are you sure. Dimple, that you love me better than 
anyone else in the world } 

Dimple {beamiiig). Yes, I'm sure of it. 

Green. Do you think Mr. Reber or Miss Maud have any idea 
of our attachment } 

Dimple {emphatically). No, indeed. 

Green. How about that little nigger } 

Dimple. There's no telling what he thinks or knows. He can 
out-swear, cheat and lie old Nick himself. {A'tiT>Y peeps out R. of 
screen immensely tickled.) 

Green. I'm heartily ashamed of the way I've deceived Mr. 



28 The Steel Km^. 

Reber and Miss Maud. I've abused their hospitality and friend- 
ship for the sake of a Httle fun with you. 

Dimple {alarmeiT). A httle fun with me .^ 

Green {coolly). That's what I said. To-day ends my visits 
here. 

Dimple (Jialf crying). Don't — you — intend — coming to see 
— me — any more } 

Green. No. I cannot. 

Dimple. Are you going — to — cast me off — after all that's — 
passed — between us } 

Green. I certainly must — {A slight pause. Green looks at 
Dimple, who appears ready to burst ijito tears.)— \xn\e:ss 

Dimple. Unless what } 

Green. Unless you promise to marry me next week ! 

Dimple. Are you in earnest ? Oh, tell me quickly. 

Green {smiling). I certainly am. {Extends arins) 

Dimple {joyously). Then Til do it. {Springs into Gylkv.^'s 
arms. Andy exposes enough of his body to take snap shot of the 
scene, while manifesting intense delight., theii retreats behind 
screen.) 

Green. Did you think I no longer loved you, sweetheart ,'' 

Dimple. Yes. Don't play any more tricks like that on me. 

Green. I won't. At least not until after our marriage. {Re- 
leases Dimple.) You had better direct me to Miss Maud now. I 
must keep up appearances, you know. 

Dimple. All right. This way, please. {Exeunt R., 2 E.) 

(Andy appears fro7n behind scree?i zvith camera. Places it in 
coat pocket as he goes down C. talking?) 

Andy. Dat makes one hundred an' twenty-five hug-me-tight, 
jowl-to-jowl, lap-warmin' an' kissin' scenes dat I'se taken ob dis 
courtin' match. Brass Buttons am got to pay me fur Dimple, dats 
a sure pop. I'se not in de bis'nis fur a lub ob art, nor fur 'muse- 
ment ; but 'tensely prac'able purposes. Ebbery picture represents 
a pull — {Extends arms and draws the7n in as though embracing 
some one.) an' a suction — {Puckers lips.) dat'U draw silver dollars 
from de lawyer like as he wus a mintin' machine. Dat'U make 
Dimple ravin' mad, an I'se mighty a-feared she'll tell de ole man 
'bout de key racket an' git me fired. If Miss Maud hadn't gib me 
five dollars to help her keep de ole man in, I'd nebber tho't ob dat 
dodge. Now, if dar's a hearin' dat bribe will come out an' my 
bacon be cooked to a crisp. I'll habto bluff Dimple good an' hard 
to keep her quiet. Dat's my only hope, fur dars no chance of 
'peasin' de ole man's raff by pleadin' devotion to his int'rests wid 
dat bribe stickin' out. 

Re-enter Dimple R. 2 E. in a joyous mood. Goes down C. 

Andy. Here she comes! May de good Lord 'spire me wid 
de cunnin' ob de debble ! 

Dimple {pleasantly), Andy, what did Mr. Reber say to you 
about your fighting for'him last night .> 



The Steel Kingf^ 29 

Andy. Oh, he praised me sky high ! Most went down on his 
knees shovvin' de gratitude dat he owed me. 'Twas not so much 
what he said as what he did dat touched my heart. 
Dimple {eagerly). What was that } 

Andy. Gave me a twenty-dollar bill to plaster over me bruises. 
Dimple. That was kind ! 

Andy {aside). Now, for de bluff. ( 7b Dimple). It was too 
kind, 'cause it broke me all up, made me feel dat bad lockin' him 
in last night, so I up an' told him de whole racket. 
Dimple {astonished). You did } 
Andy. Yes, made a clean breast ob it. 
Dimple {eagerly). What did he say } 

Andy. At first he was awful mad, stormed 'round an' 'bused 
me shameful. Den he cooled down, laughed an' said it was a good 
joke, but he warned me nebber to take sich liberties wid him 
again or he'd crack my head. 

Dimple. You were lucky getting off so easy. 
Andy. Mebbe I wus, but yo' don't s'pose de ole man would 
treasure anything agin me now, arter de way I fit fur him last 
night, do yo' } 

Dimple. He would not be likely to, unless he knew as much 
about your badness as I do. 

Andy. He wouldn't do it, eben den. I knows how he fee's 
towards me. If yo' wants to test it yo' am welcome to tell him all 
yo' knows 'bout me. {Boldly^ I dares yo' to do it. 

Dimple. You can afford to be brave now that you are in Mr. 
Reber's good graces, but how about last night when you were 
down on your knees } (Andy evinces.) You don't like to hear 
about that, eh ? 

Andy {angrily). No, I don't, an' yo' tryin' to rub it in will 
make yo' twenty-five dollars poorer dan yo' would have been. 

Dimple. How .> {Doorbell rings off I..) Oh, pshaw ! There 
goes the doorbell ! {Exits hurriedly L. 2 E.) 

Andy {chuckling). Dar's no danger ob her tattlin' now. 

She t'inks me solid wid de ole man 

Re-enter Reber D. C. 

Reber {Up C). Andy, I want 3^ou to hand me inside of an 
hour the name of the servant who sought to become my jailer last 
night. Such a high-handed piece of impudence merits dismissal, 
and I intend he shall get his deserts. (Andy faces audience, 
scared.) 

Andy. But s'posin' he did it out ob lub fur yo' — to keep yo' 
from harm, what den ? 

Reber. No supposition will be entertained. I w^iXiX. facts and 
shall expect you to furnish them. (Andy slightly turns head L., 
eyes upon the floor, scared expression. Reber looks at him a mo- 
ment, nods head knowingly, smiles, crosses and exits R. 2 E.) 
Andy. Dis am de debble's own work, an' how I'se to pull out 



30 The Steel King* 

'less he gib me a big lift, I don't know. S'posin' de bell hadn't 
rung an' Dimple had heard de ole man ! Oh, Lordy ! It's sartin 
dat I'll hab to own up, but darn my Sunday-go-to-meetin' breeches 
if dat gal hears me, eben if I has to kidnap de ole man so as to 
'fess to him alone. 

Re-enter Reber R. 2 Y.. followed by Maud a7id Green. 

Reber. I do not fear any violence from Anthony, and only 
desire your presence as witnesses to the interview, {Crosses to 
table L. C. and takes seat. K'^YiY goes up L. C, Green down R. 
C., Maud to his L.) 

Dimple {in doorway C). Mr. Henry and Anthony to see Mr. 
Reber. 

Reber {rising L. of table). Show them in. (Dimple exits 
L.) 

Re-enter Henry door C. followed by Bill. Henry goes down 
L. C. near Mr. Reber. Anthony up L. C. 

Henry. Anthony is here, Mr. Reber, and ready to answer 
any questions you may desire to ask him. 

Reber. Is it true, Anthony, that you were the ringleader of 
the mob that attacked me last night .? 

Bill. It is. 

Reber. Is it a fact that you intended to kill me } 

Bill. It is. 

Reber. You are candid. 

Bill. Don't you desire the truth } 

Reber. I do. 

Bill. That's what I'm giving you. 

Reber. Did I ever do you a wrong which would justify your 
taking my life for it } 

Bill. No, I can't say that you did. 

Reber. Then why did you attempt it last night .'* 

Bill. I was driven to it by frenzy. 

Reber. Produced by what } 

Bill {brokenly, drawing coat sleeve across eyes). By the 
sight — of my — starving children. {Goes quickly up C., is met at 
doorC, (5jr Dimple a7td Nellie. Bill picks up Nellie ^^^T 
goes down L. C. to former position. Nellie is thin and wan, 
arms and features made up to represent an emaciated condition. 
Dimple enters and takes position tip R. G.) 

Bill {extending Nellie). Here is one of them. 

Reber. {horrified). My God, man, you don't mean that child's 
condition is due to want of food, do you } 

Bill. Principally that. {Draws Nellie /^ bosom, who throws 
arms around Bill's neck and rests head upon his shoulder. Bill 
draws coat sleeve of disengaged arm across eyes. All visibly 
affected.) I have four more at home, little better than this one. 
The sight of their misery, the thought that you were responsible 
for their condition in denying me work, and a glass of bad whiskey, 



The Steel King, 31 

caused the devil to take possession of me. If ever hell existed 
upon earth, my breast held its throne last night. Yes, I intended 
to kill you — (Nellie tries to cover V>\i.V^ viotdh with hand,) 
It's the truth, dearie, and that's what the gentleman wants to 
hear. I did intend to kill him and would have done it, had it not 
been for that man (indicating Henry), who saved his life and 
my own. I know I did wrong and I'm sorry for it ; but what's 
done can't be undone. If I alone could be made to suffer for my 
folly it would be easier to bear {brokenly), — but to think of you, 
mother, and the other little ones having to share it with me is what 
hurts me most. 

Reber. Anthony, if I agree not to prosecute you for your 
attack upon me last night, promise to relieve all immediate needs 
of your family, and to give you a position to-morrow which will en- 
able you to live in comfort and lay aside money for a rainy day, 
will you reveal to me the names of your lieutenants who aided you 
in fomenting last night's trouble } 

Bill {emphatically). No, sir. 

Andy {quickly, aside). Bully for him ! 

Reber. What 1 Do you mean that.^ 

Bill. I do. 

Reber. Will one thousand dollars added to my other induce- 
ments cause you to change your mind ? 

Bill. No, sir, nor one hundred thousand dollars on top of it. 
You can starve me, torture me with prison fetters ; but I'll never 
prove a traitor to my fellow-workmen, so help me, God ! 

Andy {aside). Dat has de ring ob true metal ! 

(Mother Grundy, wild-eyed, excited^ is seen at door C. 
peeping in, but is unobserved by actors.) 

Reber. Then the law shall take its course. I 

Henry. One moment, Mr. Reber. please. I'd like to say a 
word in behalf of 

Reber, 'Twill be useless. My mind is made up. No mercy 
has been shown me ; neither will I show mercy. 

Enter Mother Grundy quickly door C. stands up C. much 
excited. 

Mother G. Then you die ! {All are startled. Mother G. 
quickly throws fold of shawl over right of shoulder, raises right 
arm aloft as in act of throwing, revealing a black ball i7i hand 
the size of an egg.) 

Reber {shrieking with fright). A dynamite bomb ! My 
God, we'll be blown to atoms ! 

Mother G. A bold robber in life, a cringing coward in death ! 
Ha— Ha! Die! 

Henry {qtiickly, with force). Mother, you can't throw that 
bomb. Your arm is paralyzed ! Mother G, slightly starts, arm 
becomes rigid, eyes appear staring, mouth open. Reber down 
L.C. face turned L. body slightly inclined L., right ar?n extended 



32 The Steel Kingf. 

toward Mother G. warding off blow. Green down R. C.face 
turned R., left arm employed in warding off blow. Maud 
slightly back of Green, hands clasped, eyes looking upward, lips 
moving as in prayer. DiMPLE falls to knees, clasps Maud's 
skirts, screaming. Henry slightly back of Reber, brows con- 
tracted, eyes riveted upon Mother Grundy, Bill back of 
Henry, turns L. atid tries to cover Nellie with coat. Andy 
up L. C. yelling ''Murder ! " Features of all express terror. 
Mother G. up C. 

Quick Drop. 



ACT IV. 

Scene I. — Corridor z'n Reber's house in i G. Curtain rises to 
music. Enter Green and Dimple L. i E. Green has 
hat in hand. 

Dimple. My ! but didn't Mr. Henry waltz his mother out of 
the room in a jiffy ? 

Green {at C), Yes, and made the mistake of his life in doing 
it. Had he stood his ground and sought to shield his mother's 
bomb-throwing behind a plea of insanity, instead of running away 
with her, I believe all would have ended well. 

Dimple. Do you think Mr. Reber will have her arrested ? 

Green. That was his intention in following her out of the 
house. Whether it can be accomplished without the death of 
Henry, Mr. Reber, or both, is another matter. 

Dimple {alarmed). Do you fear bloodshed 1 

Green. I do indeed, and so does Miss Maud. 

Dimple. Then that accounts for her excitement. 

Green. Henry fairly idolizes his afflicted mother, and I be- 
lieve will resist her arrest even to yielding up his life in her defense. 

Dimple. I don't want any funerals around here, yet I do hope 
Mr. Henry defeats Mr. Reber's purpose. 

Green. So do I, dear. Where is Miss Maud } 

Dimple. In her room putting on her hat. 

Green {smiling). As I am about starting on a perilous jour- 
ney don't you think your benediction ought to accompany me } 
{Extends arms). 

Dimple {coyly). Will it be safe to bestow it ? 

Green. Nothing venture, nothing win. 

Dimple {hesitating). I would like to — I believe I will — {Starts 
for Green, stops quickly.) Hark! {Glances off\.. theft runs to 
Green, presses fingers upon lips, and touches Green's cheek 
with them.) There! Avoids Green's attempted embrace.) 
No, you don't. Miss Maud is coming. I'm off to look for Andy. 
{Exits quickly R. i. E.) 

Green {crossing R.) Confound it, just my luck ! 
Enter Maud L. i. E. excited. Stands L. C. nervously putting on 
and fastening gloves. 

Maud. Has not Andy returned } 

Green. No, but I'm expecting him every moment. 

Maud, Have you mapped out a plan of action } 

33 



34 The Steel Kin§f. 

Green. Partly. Our actions will largely be governed by cir- 
cumstances. 

Maud. Mrs. Henry's imprisonment must be prevented at all 
hazards, or the poor woman will become a raving maniac for life. 
Remember that her safety is paramount to all other considerations, 
and to that end you are to use my fortune — aye, force, too, if 
necessary. 

Green. Your wishes shall be carried out to the best of my 
ability. I have a couple of strong cards up my sleeve to play 
against Mr. Reber's hand, and I think they will win the game for 
us. 

Maud. Why don't Andy come .'' We are losing valuable 
time, and I fear we may be too late to accomplish our object. 

Andy, {loudly off R.). Clar out, I tell yo'. 

Maud. That's him, now, 

Andy {offK.). Clar out. I'se no time to answer poor white 
trash's questions. 
Enter Andy R. i. E., quickly, hat in hand, followed by Dimple. 

Andy {with animatioii). De kerridge am at de door, Miss 
Maud, an' hitched to it am two ob de quickest steppin' bosses in 
town. Dey will carry yo' 'long de road like a streak ob greased 
lightnin'. 

Maud. What about Mr. Reber and Henry } Where are they ? 

Andy. Mr. Henry an' his mudder am' a-trackin' it fur home 
a-hind Bill Sykes' 2 : 40 nag, an' Mr. Reber an' two p'licemen am 
a-followin' 'em in a coupe. You see — {talks quickly^ jest as soon 
as Mr. Henry reached de street, he grabbed his mudder by de arm 
an' skooted down de street so fast dat de old lady stood on de 
p'intsob her toes an' slid. Mr. Reber he shot up de street on a 
dead run. As luck would hab it, 'long cum Bill Sykes — a 'tic'lar 
friend ob Mr. Henry — drivin' down de street wid his 2 140 pacer. 
Mr. Henry hailed him, picked up his mudder like as if she wus a 
fedder, tosses her in Bill's buggy, clum in hisself an' said sumfin' 
to Bill who hollered to his mare, {Enthtisiastically.) Den yo' 
ought to hab seen dat boss ! She lowered her belly within si^c 
inches of the cobblestones, an' her legs flew all ober de street, 
leabin' a streak ob fire a-hind her. As she turned de corner 
at Main street I seed Mr. Reber cum polin' down de street in a 
coupe, settin' 'twixt two p'licemen. De cabby had his nag a-run- 
nin', an' he wus lam'bastin' him fur keeps, but he'll nebber ketch 
de flyin' Dutchman, dis side 

Green. What became of Anthony ? 

Andy, He's takin' his kid home. Den he 'tends to cross de 
fields to Mr. Henry's house an' help him hold his fort. Bill said 
dis is his funeral, an' he'd be — {Catches himself.) — dat no woman 
corpses should take his place. 

Green. Good ! We may need his services. ( To Maud). We 
know how the land lies. Are you ready } 



The Steel Kingf* 35 

Maud {crossing K.) Yes. Offer our driver twenty-five dollars 
to get the best speed out of his horses possible. {Exeunt Maud 
rt«<^ Green R. I. E.) 

Dimple {snappishly). What do you think of labor unions 
now ? A pretty mess they have gotten us into. 

Andy {warinly). Dey am all right. It's de fools dat run dem 
dat cause de trouble. Widout dem de world would be a blamed 
sight worse off. De masses ob de people — de laborin' classes— am 
bein' sat on. Dey am not gettin' fair play, by a jugful. 

Dimple. They will never improve their condition through 
labor unions. 

Andy. Why not ? 

Dimple. Because they are composed of men with but one idea 
— that of fighting capital. The principle is wrong. Labor and 
capital cannot afford to be at loggerheads. One is dependent 
upon the other. There will always be two classes in this world, 
Andy, the rich and the poor, in spite of all you can do. 

Andy. Yes, an' one is a-gittin' richer all de time, an' oders 
poorer. Dat's not right. 

Dimple. How can it be prevented ? If you take the wealth 
away from the class who holds it to-day it will be in the hands of 
another tomorrow. Until you get every man, woman and child in 
this world to love their neighbor as themselves, there will be want, 
misery and injustice on every side. 

Andy. Men treat their bosses, cattle, dogs an' cats wid 'sid- 
eration, why don't dey treat each oder de same way } 

Dimple. Old Nick can answer that better than I can. If you 
are bound to become a reformer and really want to aid the labor- 
ing man. I'll tell you how you can best do it. Listen ! Get him 
to stop drinking whiskey, supporting saloons and grog shopkeepers, 
and give his daily wages to his wife, mother or sister to spend for 
him. That will free him quicker from the evils he complains of than 
all the labor unions in Christendom, 

Andy {disgusted). Yes, an' land him in petticoat slabbery ! 
Dar's mighty little difference 'twixt servin' de debble an' wimmin 
folks. Both make bad masters an' are not to be trusted. 

Dimple {arching eyebrows). Is that a fact .'* 

Andy. Yes, it is, an' nobody knows it better dan yo' do. 
Say, how do you like de idea ob Brass Buttons ridin' 'lone wid 
Miss Maud in a kerrig,e } 

Dimple. Very much indeed. 

Andy. Yo' can bet when de blinds are pulled down dey gits 
mighty conferdential. 

Dimple. Do you really think so ? That doesn't worry me. 
Can't you suggest something more interesting ? 

Andy {tcikes photo from pocket and holds it at arm's length 
in front of Dimple). How does dat strike yo' } 

Dimple {surprised and angry). Where did you get that.^ 



36 The Steel King;* 

Andy {chuckling). Yo' an' Brass Buttons posed fur it. I'se 
got a hundred an' twenty-four more ob yo'r courtin*, hug-me-tight, 
lap-warmin' and kissin' scenes. 

Dimple {trying to snatch photo). Give me that. 

Andy {springing aside). No, yo' don't. Some ob de huggin' 
an' kissin' scenes am so nat'ral an' fetchin' dey make a feller feel 
funny jest to look at dem, {Chuckles^ 

Dimple {uneasy) What do you intend doing with them } 

Andy {coolly). Sellin' 'em. Dey'll be fust-rate fur breach o' 
promise suits an' advertising purposes. Picture man Black offered 
twenty-five dollars fur five ob de commonest ones. 

Dimple {enraged.) Have you been showing them around 
town } 

Andy. Only to a few pussonal friends. I 'tends to show dem 
to Brass Buttons to-night an' tax him a hundred an' twenty-five 
dollars fur de whole kit. A man dats worth ten thousand dollars, 
an' can't 'ford to pay dat sum to save his own r'spect an' de gal's 
feelin's dat he 'tends to marry next week 

Dimple. What do you know about that.'* 

Andy, Heard ebbery word ob de compact, seed de afterclap, 
an' lost my breakfast. I had a picture ob de scene jest after yo' 
says "yes." {Feels in pocket). Like to see it.'' 

Dimple {furious). No, but I would like to see you buried 
twenty feet deep in a grave, with a forty ton stone on top of you to 
hold you down ! 

Andy. No doubt ob it, but I don't 'tend to kick de bucket 'fore 
gittin' my price out ob Brass Buttons, or you both am made de 
laughin' stock ob de whole town. {Abruptly.) Say ! yo'll want 
sum fixin's 'fore yo' changes yo' color. What do you say to col- 
lectin' my claim 'ginst Brass Buttons an' pocketin' twenty-five 
dollars .'' 

Dimple {hotly). I'll have nothing to do with your unprincipled 
scheming. I hope Mr. Green will thrash you soundly for your 
rascally conduct. 

Andy. Dar's no danger ob dat. He am too good a lawyer to 
risk a five-thousand dollar 'sault an* battery suit, an' de advertisin' 
dat would give my pictures, {Slight pause.) So you won't act 
as a go-between } {Starts R.) Good day, den. 

Dimple. What are you going to do } 

Andy, Lock up de house, an' see de finish ob de Reber- 
Henry bout. 

Dimple. Then I'm going, too. {Quickly exeunt R. i. E.) 

Flats are drawn off disclosing 
Scene 2. — Same as Scene i. Act i. Door R, in F. is thrown 
open revealing Henry. 

Henry {looking L. excited). Step inside quickly, mother. 
We've not a moment to lose. 

Enter Mother Grundy followed by Henry. Both are 



The Steel Kingf. 37 

intensely excited. Mother G.goes down C, removes hood and 
shawl and throws them over back of chair. Henry quickly removes 
hat, tosses it R. on, floor, closes door and braces it with L. shoulder. 

Henry. Now, let the demons enter if they dare, and I'll make 
them pay dearly for their whistle. (Mother G. pulls tip sleeves, 
runs up C. to R. of Henry and places hands upon door). 

Reber {rattling door, loudly). Open the door. 

Henry. Never, sir. 

Reber. Force the door in, then, officers. 

Henry. They'll do it at the risk of their lives ! 

Reber. Have no fear of consequences. Do your duty, men. 
Now, all together! {Door sways and creaks). It yielded an 
inch that time. Now for another effort. 

Mother G. {frantically). Don't you enter or I 11 blow up 

the house ! -r^ . 7 

Henry {speaks lozv, but with intense power): Don t you dare 
attempt such a thing, mother ! 

Reber. Push, men, push ! Never let it be said that the com- 
bined strength of three powerful men was inferior to that of a 
man and a woman. {Assault is renewed with fury, Henry and 
Mother G. resisting to their utmost. Door gradually opens.) 

Reber ( exult ajitlv). It's yielding ! Victory will soon be ours ! 

Henry. It wilfbe dearly bought. Mind what I tell you. 
(Henry and Mother G. are gradually forced back and officers 
etiter. H ¥.^KY pushes MOTH er G. slightly R. and door flies wide 

^ Henry {quickly). Run for your life, mother ! (Mother G. 
runs up C. stands back of chair facing door.) 

Enter K-e.BV.v. quickly, goes h. C. . tt ^ j 

Reber {to officers). Seize that man (mdicatmg Henry) and 
handcuff him {Officers start for Henry who knocks do%t>n Num- 
ber I and grapples ivith Number 2. Number i sprtJigs to his 
feet and closes in with Henry, a fierce struggle ensues). 

Reber {excitedly). Secure him at all hazards ! 

MOTHER G. {scr earning). Help ! Help ! Fight for your lite, 
Charlie. I'll help you, my boy. {Starts up C.) 

Reber {interceptimr her). No, you won't, I U attend to your 
case {Eno-aires Mother G. in a tussle who fights savagely and 
keeps Reber busy. Officers force Henry to knees, seise his 
arms, raise them and try to handcuff him. Mother G. notices 
their action.) 

Mother G. Help! Help! 

Enter Bill quickly through open door R. inY. 

Bill {strongly). It's here ! {Seizes one officer and throws him 
up in L. corner, the other one L. C.) 

Mother G. {wildly). Ha-ha— ha! The tables are turned. 
(Reber half turns R., is startled. Mother G. notices his ac- 
tion and with a sprinq- and a yell clutches him around throcri and 



3S The Steel Kin^. 

chokes him. Hei^rY and o//icers rise. V>\\A. retreats R., Mother 
G. shakes Keber /urious/v, luho sinks to knees^ appears stran- 
glin<^.) Die ! foul robber ! Die ! 

Henry {rushing C). My God, mother, don't kill him. {Fran- 
tically seises Mother G's hands, forces her to release hold itpon 
Reber's neck, and pushes her down R.C. Officer at L, C. springs to 
Reber's side, helps him to rise and supports him while partially 
recovering. A slight pause. 

Reber {to officers, speaks with difficulty). Arrest that hyena 
there {Indicating Mother G, and Henry) and her cub. 
{Officers start to cross R.) 

Bill {picking tip chair and intercepting them). Attempt it 
and I'll brain you both! {Officers hesitate.) 

Enter Green and Maud excitedly door in F. Stand up C. 

Bill {strongly to officers). You are without authority here — 
out of your jurisdiction ; are nothing more than plain citizens in 
the eye of the law, and Henry would be justified in killing you 
were you to attempt to carry out Mr. Reber's commands. 

Green. Anthony speaks the truth. This is Mr. Henry's castle, 
and no officer dare enter here except at the risk of his life without 
a properly executed warrant of arrest. {To officers.) You have 
usurped your powers. There is the door ; get out at once or Til 
assist you in leaving. {Officers sheepishly but quickly exeutit door 
in F.) 

Reber {angrily). I shall secure a warrant and have it served 
by a constable at once. {Starts up.) 

Bill. If you do, after what that man has done for you {ifidi- 
cating Henry) you'll deserve hanging. 

Henry {quickly). One moment, Mr. Reber, please. (Reber 
stops.) Let me beg of you to cease troubling mother. She has 
suffered too much already at your hands, and any further persecu- 
tion of her I fear will cause me to become a criminal. 

Reber. You talk in riddles, man. I never harmed your 
mother. 

Henry {hotly). You are responsible for her present wretched 
mental condition, 

Reber. Impossible ! I never saw her until she entered my 
house to-day to murder me. How could I be guilty of what you 
charge .'' 

Henry, Your treachery, deceit {strongly) aye, downright rob- 
bery, caused it. 

Reber {angrily.) That's strong language to use. I'll make you 
prove it. 

Enter Andy and Dimple quietly door R. in F. stand well up. 

Henry. I will do it. Listen. At your father's death it was 
found that every dollar that he possessed was invested in farming 
lands. His will directed that his property be divided — acre for 
acre'— between yourself and your brother's widow. As sole execu- 



The Steel King-* 39 

tor of your father's will you appropriated every acre of known 
value and offered your brother's widow barren worthless tracts of 
land, rich only in sedge grass and green briers. Your contempt- 
ible action so incensed her that she refused to accept a foot of land 
under the will, and vowed her son should not retain the name you 
had so disgraced. Adopting that of her foster-brother she passed 
completely out of your life. What wounded her more than any- 
thing else was your demand that she give up to you the farm she 
then occupied with its sacred associations, and which had always 
been considered in the light of a gift to her husband by your father, 
though no deed had been given for it. She could not understand 
your heartless motives then, but was informed afterward that you 
had been secretly advised that the property held rich iron ore 
deposits. From that tract of land, tinjusily wrung from a widow, 
you have amassed your present wealth. Do you deny these state- 
ments } 

Reber (L. of chair backof tabte). Who are you } 

Henry. The son of the widow you wronged, the only child 
of your brother. A Reber by birth, but a poor mechanic through 
the avarice of an unprincipled scoundrel. {All are start ted except 
Green and Mother G. , whose features depict intense excite- 
ment?) 

Reber {grasping back of chair). Can it be possible } 

Green. He speaks the truth, Mr. Reber. As his attorney I've 
had occasion the past week, in the preparation of an action-at-lavv 
about to be brought against you, to verify the statements just 
made you. 

Henry {pointing to Mother G.). There stands the widow of 
your brother who idolized you while living. Brooding over your 
injustice partially unbalanced her mind and wrecked her life. 
Look ! Behold the result of your infamous scheming ! Now ask 
yourself if your ill-gotten wealth be worth the price of that immor- 
tal soul ! (Reber looks at Mother G. a jnoment, then hoivs head, 
appears conscience smitten.) If it be true that the spirits of our 
departed ones hover over us and are aware of passing events, 
what must h&— {brokenly^ the feelings of your father and brother 
as they look down upon this scene. {Slightly bows head.) 

Reber {as he sinks to chair). This is a terrible, terrible retri- 
bution ! The heinousness of my sin overwhelms me. {Boius 
head upon table.) In a moment of temptation I lost all sense of 
honor, betrayed the confidence placed in me by my father, fell a 
victim to the sordid lust of wealth, and wrecked a human life ! My 
God ! My punishment is greater than I can bear! Have mercy, 
have mercy ! 

Maud {i(oes down C. lays hand upon Reber's shoulder, speaks 
feelingly). He will if you prove your repentance by making resti- 
tution for your sins. I have been assured that such action on 
your part would restore your sister's reason. Is not this the time to 
try it ? (Green goes down L. C.) 



40 The Steel Kmgf» 

Reber {rises, speaks with emotion). Yes, it shall be done. 
(Mother G. looks at Reber, features depicting intense excite- 
ment). Before the day closes she shall be in full possession of the 
old home farm with its mines, and have ten-fold added to what 
she was entitled to at father's death. 

Mother G. (adva7icing a step towards Reber. eagerly). Do 
you mean that } Will you do it for sure } Oh, don't trifle with 
me ! 

Reber {elevating arm). As God is my witness, I'll do it. 

Mother G. {ti^-fiing to Henry Joyously). Did you hear 
that, Charlie } {Places hands upon head). The weight is lifting off, 
my brain, light is shining in where darkness reigned ! Oh, Charlie 
we'll be so happy ! {Advancing with outstretched arms springs 
into Charlie's embrace, and lies sobbing upon his bosojn.) 

Henry. God be praised ! 

Reber, To you, Charlie, I'll hand over my mills with suffi- 
cient funds to start them up to-morrow, upon a co-operative or 
any other plan you and your men may agree upon. 

Henry {quickly). How about Anthony and the other men 
who attacked you .'' 

Reber. They are forgiven, and need fear no harm from me, 
{Extendi7ig arms and looking upward.) Now, may I hope for 
Thy forgiveness.? Reber C. , Henry and Mother G. R. ^C. , 
Maud slightly to R, ^ Reber, Green L. C. , Dimple up L, C. , 
Andy upC.^ Bill up R. C. 

Quick Drop. 

If preferred, the followijig ending may be used. 

Henry {quickly). How about Anthony and the other men who 
attacked you } 

Reber. They are forgiven, and need fear no harm from me. 
( A hum of excited voices momentarily becoming louder and 
nearer heard off^. and!.. U. E.) 

Reber {terrified). Hark ! What mean those sounds ? Mob law 
again I {Sounds of men runnijig and voices heard : " Succor for 
Henry ! " " The Unio?i forever ! " ''Death to the Steel King," 
repeating over and over, eT.>er nearer, until the sounds become a 
mighty roar, Reber/^?^^^ door in F. All gather around him 
forming a half -circle facing up. Maud and Mother G. front 
^/ Reber; Green. Dimple a7id Ai^t>y fro7it of Maud, and 
Mother G. Henry ajid Bill in front of them with chairs in 
their hands.) 

Ettter men excitedly door R. in Y. jostling each other a/id yell- 
ing frantically '. " There he is," ''Mob him," " He's good for a 
swing this time," etc., etc. , Men rush down C. Bill and Henry 
raise chairs aloft. 

Bill {defiant!}^. Back with you, boys, back ! {Leaders recoil 
up L. Space between Bill atid door is quickly filled with yelling. 



The Steel Kin§f. 41 

excited men armed with ropes, clubs, a7id all sorts of impletnenis 
as though caught up on the spur of the moment. Have sufficient 
tnett to fill stage and block doorway.) 

Bill {moujiting chair). Don't a mother's son of you lay a 
hand on Mr. Reber. He's surrendered ! ( Thrilling ly). Handed 
his mills over to Henry and they start up to-morrow, ftdl blast, 
boys ! Three cheers for the Steel King, and a tiger for Henry and 
his mother ! Hip, hip — {Cheers are heartily given with demonstra- 
tions of great joy.) 

Quick Drop. 

Curtain. 



NEW PLAYS. 

JOHN BRAG, DECEASED. 25 cents, a farce in 4 acts, by Gordon 
V. May. 8 male, 5 female characters. Time of playing, 1% hours. Brag, a rather 
sporty old fellow, to save himself from financial ruin, pretends to be dead, and this 
leads to all kinds of comic complications. The characters are all good, and there is 
nothing slow in the piece. A certain success. 

STEEL KING, The. 25 cents. A 4-act comedy-drama, by Horace 
C. Dale. 5 male, 3 female characters, with non-speaking parts for policemen, a 
child, soldiers and mob. Runs 2% hours. This is a play with a bright future before 
it. Written along the lines of "'Strife," combining its_ heart interest, soul-stirring 
situations, brisk action and mirth-provoking incidents, it is sure to become as great a 
favorite. Its clairvoyant and hypnotic scenes are cleverly wrought out climaxes of 
intense interest ; while the mob scene is a masterpiece of dramatic construction, 
thrillingly realistic, arousing imbounded enthusiasm. This is no part play. Every 
character is given a chance to display good, effective work, and enter largely into the 
development of a strong absorbing plot, ever increasing in interest until the final drop 
of curtain. A fine leading woman, a noble mechanic, a wealthy mill owner, an out- 
spoken union man, a deceptive lawyer, ,Tn eccentric woman character, an exceptionally 
good soubrette, an uproariously fun-provoking darky, constitutes the cast, with 
soldiers, singers, mob, policemen, etc., as adjuncts. The act endings are strong; stage 
pictures, effective. Can be produced in any hall, and is heartily recommended by its 
author as one of his best plays. 

PAIR OF IDIOTS, A. 15 cents. An up-to-date society comedy in. 

2 .-JCts, by E. M. Ci^ANE. 3 male, 3 female characters. Time of playing, 2 hours. 
Replete with bright and witty dialogue and telling situations. A stupid will makes it 
necessary for two young people to act the part of idiots in order to secure their 
freedom. Two britjht girls and an old maid bring an irascible Colonel and two 
younger men to terms. The plot is excellent, and the piece is bound to be a great 
suceess, being especiallj' recommended to companies who have already produced the 
author's other plays. 

CASE OF HERR BAR ROOMSKI CONEYISKEY, The. 

(An Anarchist.) 15 cents. A new Mock Trial, by Hakkv E. Shellanu. 15 male, 
I female (usually played by a male) characters, jurors, etc. The latest and most 
amusing mock trial published. Good Tramp, French, German, Irish, Negro and Jew 
parts. Plays a whole evening. 

MAJOR ABORN'S PROPOSAL. 15 cents, a comedy in i act. 

3 male, 2 female characters, i interior scene. Time of playing, 45 minutes. A very 
charming little play, giving none of the characters special prominence, each being 
good. Particularly recommended as a curtain raiser. 

CRUSHED TRAGEDIAN, A. 15 cents. By Wiluam Sidney 
HiLLYi'-R. A character monologue for male comedian. Depicts the reminiscences 
and tribulations of '''the palmy days" by one of " the old school." Runs about 15 
minutes. Especially recommended. 

WAKE AT O'GRADY^S, The. 15 cents. By William Sidney 
HiLLVEK. A monologue for an Irish character comedian. Runs 15 minutes. Besides 
the "wake," Mr. Dugan tells all about the christening at McGuire's. Especially 
recommended. 

SQUIRE THOMPKDSrS' DAUGHTER. 25 cents, a drama in 

5 acts, by Arthur L. Buzzell. 5 male, 2 female characters. Time of playing, aj-^ 
hours. The action turns on a cunnincrl}' devised plot involving forgerv, mock-marriage 
and mortgage-foreclosure; a revengeful attempt to ruin the Squire ?i\\A his family, 
hut happily frustrated at the last moment by the unmasking of the two conspiratori. 
Absorbingly thrilling in every act. 



EDWARDSt THE SPY. 25 cents. A drama in 5 acts, by Arthur L. 
BuzzELL. 10 male, 4 female characters. Civil and military costumes. Time, 2^ 
hours. A brilliant episode of the Civil War, in which the reckless daring and hair- 
breadth escapes of AWivards succeed in baffling a revengeful plot to destroy him. 

MAIDENS ALL FORLORN. 15 cents, a comedy in 3 acts and 
I scene, by Evelyn Simms. 6 female characters. Scene, a parlor in a seaside cottage. 
Time, ij^_ hours. Three young girls_ chafing under the monotony of a man- forsaken 
resort, write Teddy to come and visit them. Teddy cannot come, but answers that 
his friend Dr. Jocelyn Denby will come and help while away the time. Great 
preparations are made for his reception, including much interest by a Maiden Aunt. 
Each prepares a present to bestow on the Doctor, and feigns an ailment to interest 
him. The Doctor arrives — a woman. The climax, deftly worked out, is sprung on 
the audience at the last moment, and insures the play a complete success. The char- 
acters are all good, the Maiden Aunt and Mrs. Maloney are great character parts. 

PICKLES AND TICKLES, is cents, a negro farce in i act, t)y 
Thomas Barnes. 6 male characters. No scenery required. Runs 20 minutes unless 
specialties are introduced— by means of which the piece can be lens^thened to suit. 
Pickles and Tickles are rival dealers in second-hand clothes. Their quarrels, the 
pranks played by two live dummies and the comicalities of Overanxious and The 
Parson s ghost afford ample opportunity to keep the audience in a whirlwind of mirth. 

NOAH S AlRK, Jr. is cents. A farce in i act, by Samuel Emery. 4 
male, 3 female characters. Parlor scenes, modern costumes. Plays 45 minutes. A 
genuinely funny piece which satirizes the maudlin love for animals that is displayed by 
someownersof pets. A profane parrot and a j'oung curate just out of the seminary 
sustain a series of complications that culminate in a half-hitched wedding. No love- 
making. Characters, dialogue, situations and "business" are novel and mirth-pro- 
voking. The piece will play itself, and please everybody. 

SLIM JIM AND THE HOODOO, is cents, a negro farce in i 
act, by Thos. Barnes. 5 male characters. I'he scene is laid in a grocery-store. 
Full of jokes, and abounding in comic "business." The grocer, a tough customer, a 
deacon with a weakness for "craps," a crank with patents on the brain, and a fat 
policeman keep up a succession of laughs that end in an explosion which will make 
the audience ache. Specialties can be introduced. The piece will run 30 minutes if 
played " straight." 

THE GYPSY QUEEN. 2S cents, a drama in 4 acts, by Horace C. 
Dai e. 5 male, 3 female characters, with non-speaking parts to represent Gypsies and 
picnickers. Runs 2j^ hours. In its romantic interest and simple yet effective scope 
for pretty stage pictures, this play is comparable to the same author's " Imogene • or, 
the Witch's Secret." which has proved conspicuously successful. Leading woman and 
man are the principal parts. There is an excellent light comedy (male), a good in- 
genue to work with the light comedy, a dude comedv part, and a comedy parson who 
looks like a cowboy evangelist. The villain and Gypsy woman will give fine chances 
for effective emotional acting. Besides a compact, dramatic plot and picturesque 
atmosphere, the piece possesses a number of sensational scenic effects that are entirely 
new. With its abundance of bright comedy stirring incidents, and realistic situations, 
this play will appeal strongly to the popular taste, It is within the range of ordinary 
dramatic clubs, and can be staeed in any hall 

MEN, IVIAIDS AND MATCHMAKERS, is cents, a society 

comedy in 3 acts, by E. M. Crane 4 male- 4 female characters. Co«<tumes of the 
day. One interior scene. Time of playing, 2 hours Sparkles with wjt and interest — 
also with human nature. Some bachelor-girls keep bachelors' hall in a New York 
apartment • some bachelors of the other sex appear on the scene : some matchmakers 
settle the whole business. True comedy, without any love-making* novel and clever 
situations: sprightly dialogue ■ characters all " stars *' : act endings snappy and sur- 
prising. The plot hinges on a well-played practical joke. The audience, waiting to 
learn what will happen next, is kept in suspense till the end. The piece is of the same 
grade as the same author's " T»st for Fun," is staged with equal ease, and is recom- 
mended to the great number of "clubs that have already produced the latter play. 



or 



Rooftach's Descriptive CataIog:«e» 43 

HORACE C. DALE'S PLAYS 

1^* ^* t^* 

Each of these plays has achieved a pronounced success. They are all specially 
suitable for amateur production, and they have all been produced by amateurs through- 
out the United States. Some of them do not readvicU — very many good acting plays 
do not — but thej' are all thoroughly ivell-built^ and they invariably rtc/? well. Dramat- 
ic clubs can do no better than to produce all of them, from time to time, using other 
plays by other authors between times. Detailed descriptions will be found in appro- 
priate alphabetical order in the body of this catalogue. 

f^ %^ ^^ 

BREAKING HIS BONDS* (25 cents.) a comedy-drama in 4 acts. 6 
male, 3 female characters. 

" IVe had a full house each night, and the audiences •were hi^Uy pleased. JFe 
consider it among^the best plays ive have given. ^'' — F F. Kf^'nedv (111.). 

''^ Both actors and audietice were delighted lui ' .. G His Bonds. We 

think it isfine.'"—^ . R. Stebbins (Mo.). 

" The house was crowded, and all the opinions were ^<i le. As far as the 

enjoyment of the audience was concerned, the play succeeaeU ^uell.^^ — C. A. Ander- 
son (Va.). 

1 rlh. DiiACOrs* (25 cents.) A comedy-drama in 5 acts. 6 male, 6 female 
characters. 

" We met with unprecedented success. We played it the second night, by special 
request, to a large house.''^ — J. W. Culton (Mo.). 

" The Deacon was a perfect success, both socially and financially. It gane the 
best of satisfaction, and drew full houses two evenings.'''' — J. G. HoxiE (Conn.). 

" We produced The Deacon to the largest audience that was ever in the opera 
house here, and everybody spoke a good word for it. It is a splendid play. I recotn- 
mend it highly.''''— 'L. G. Vaughn (111.). 

THE DEACON'S TRIBULATIONS. (15 cents.) a comedy-drama 
in 4 acts. 8 male, 4 female characters. 

" It wns an unparalleled success. Pete was funnier than ever, and the >nuch- 
fnarried Dkacon simply brought down the house. People laughed till they cried. 
The play scored a hit that will be hard to equal in the future.'''' — A. A. Murphkee 
(Florida). 

" Had a big house, and wade a big hit. The piay is one of the best, full of good 
comedy and well adapted to amateurs. Played it also in surrounding towns. Every- 
body pleased.'''' — W. H. Gabbert (Mo.). 

" The audience was delighted with it.'''' — Leon A. Davis (Delaware). 



THE GYPSY QUEEN (New). (25 cents.) A drama in 4 acts, by 
Horace C. Dale. 5 male, 3 female characters, with non-speaking parts to represent 
Gypsies and picnickers. Runs 2j^ hours. In its romantic interest and simple yet 
effective scope for pretty stage pictures, this play is comparable to the same author's 
" Imogene ; or the Witch's Secret," which has proved conspicuously successful. 
Leading woman and man are the principal parts. There is an excellent light comedy 
(male), a good ingenue to work with the light comedy, a dude comedy part, and a com- 
edj' parson who looks like a cowboy evangelist. The villain and Gypsy woman will 
give fine chances for effective emotional acting. Besides a compact, dramatic plot a'.d 
picturesque atmosphere, the piece possesses a number of sensational scenic effects th;U 
are entirely new. With its abundance of bright comedy, stirring incidents, and real- 
istic situations, this play will appeal strongly to the popular taste. It is within the 
range of ordinary dramatic clubs, and can be staged in any hall. 



I 



Dramas and Comedies 

(AT 25 CENTS EACH.) M. F. 

Breaking His Bonds. Strong Drama with comic underplay ; 4 acts ; 

2 hours o 6 3 

The Jail Bird. Drama of city life, containing a vivid plot with well 

diversified interest ; 5 acts ; 2/4 hours 6 3 

Golden Gulch ("The Government Scout")- Drama that combines 

fun, sentiment and exciting situations ; 3 acts; zji hours is. 3 

The Man from Maine. Comedy-drama with a wide-awake hero from 

" down East "; 5 acts; 2j^ hours.... 9 3 

Shaun Aroon. Stirring Drama of Home Life in Ireland; 3 acts; 2 

hours 7 3 

"The Deacon." Comedy-drama that is simply immense; old-man 

leading character ; 5 acts ; 2K hours 6 6 

What's Next? Farce-comedy; 3 acts; plays 150 minutes; raises 150 

laughs 7 4 

The New Partner. Comedy-drama ; strong plot, moving episodes and 

roaringcomedy ; 3 acts J 2j^ hours 8 4 

Josiah's CoMi'tShip. Farcical Comedy-Drama; uproarious comedy 

features alternate with forceful, but not h-avy, pathos ; 4 acts ; 

2 hours , 7 4 

Erin Go Bragh. An up-to-date Irish Drama in j acts ; plays 2 hours ; 

both serious and comic in scope ; not sensational 5 4 

Plays for Female Characters Only 

(IS CENTS EACH.) M. F. 

Who's to Inherit? I act ; brisk and comic 9 

Mrs. Willis' Will, i act ; neat, funny and bright 5 

My Aunt's Heiress, i act ; has a " Cinderella" plot..... 11 

The " Sweet " Family. Musical, wise and otherwise ; will make a 

mummy laugh 8 

A Lesson In Elegance (" The Glass of Fashion "). Society comedy 

I act ^ 

Murder Will OuL i act ; humorous, with a moral o 

A Slight Mistake, i act ; enforces a moral in a comic way 5 

Fast Friends, lact; society quarrel and reconciliation 2 

A Fair Encounter, i act '. bright, with a diamond'cut-diamond plot. . 2 

Plays for Male Characters Only 

(15 CENTS EACH.) M. F. 

The Lost Heir Drama in 3 acts ; excellent plot of unflagging interest. 10 

"Medica." Roaring farce in i act ; sure to please 7 j 

Wanted, A Confidential Clerk. Farce in i act; comic and spirited... 6 

Old Cronies. Farce in i act ; rollicking fun all through 2 

April Fools. Farce in i act ; brisk, bright and comic 3 J 

The Darkey Wood Dealer. Farce in i act; always scores a success... gi 

Mischievous Bob. Comic drama in i act ; good moral 5 

The Wrong Bottle. Temperance sketch in i act 2 

Well Fixed for a Rainy Day. Temperance Drama in i act 5 

The Harvest Storm. Drama in i act ; strong in its interest, with a 

comic underplot 10 

furnished Apartments. Farce in 1 act ; very laughable in its absurd 

complications 5 

The Widow's Proposals. A " Widow Bedott " farce in i act 3 

A Manager's Trials. Farce in i act ; creates shouts of laughter 9 

The Bachelor's Bedroom ("Two in the Morning"). Farce in i act .. 1.2 , 

The Dutchman in Ireland. Farce in i act; good characters... 3 

The Nigger Night SchooV. Farce in i act; a "screamer" with 

specialties .- • • • 6 

A Holy Terror. Farce in i act; white or black faces; specialties can 

be worked in ; uproariously funny 4 

DICK & FITZGERALD, Publishers, 18 Ann St., N. Y. 



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ALL THE COMFORTS OF HOME. 

PRICE, 25 CENTS. 
A comedy in four acts, by William Gillette, as 
first produced at the Boston Museum, March 3, 
1890. Authorized copyright edition, printed from 
the original prompt-copy. Ten male, seven female 
characters. Time of representation, two hours 
and thirty-five minutes. 



A NIGHT OFF. 

PRICE, 25 CENTS. 

A comedy in four acts, from the German of Schon- 
than, by Augustin Daly, as first produced at 
Daly's Theatre, New York, March 4, 1885. Au- 
thorized copyright edition, printed from the original 
prompt-copy. Six male, five female characters. 
Time of representation, two hours and a half 

SEVEN-TWENTY-EIGHT. 

PRICE, 25 CENTS. 

A comedy in four acts, from the German of Schon- 
than, by Augustin Daly, as first produced at 
Daly's Theatre, New York, February 24, 1883. 
Authorized copyright edition, printed from the 
original prompt-copy. Seven male, four female 
characters. Time of representation, two hours and 
a half. 

op oj; op 



Any of these plays will be sent, post-paid, 
to any address, on receipt of the annexed price. 

DICK & FITZGERALD, 

Publishers, 18 Ann St., New York. 



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